THE 2018–19 CONCERT SEASON at PEABODY Peabody Studio Orchestra Saturday, November 17, 2018

THE 2018–19 CONCERT SEASON AT PEABODY Peabody Studio Orchestra Saturday, November 17, 2018

Peabody Conductors' Orchestra Tuesday, November 27, 2018

Peabody Symphony Orchestra Saturday, December 1, 2018 STEINWAY. YAMAHA. [ YOUR NAME HERE ]

With your gi to the Piano Excellence Fund at Peabody, you can add your name to the quality instruments our outstanding faculty and students use for practice and performance every day. The Piano Department at Peabody has a long tradition of excellence dating back to the days of Arthur Friedheim, a student of Franz Liszt, and continuing to this day, with a faculty of world-renowned artists including the eminent Leon Fleisher, who can trace his pedagogical lineage back to Beethoven. Peabody piano students have won major prizes in such international competitions as the Busoni, Van Cliburn, Naumburg, Queen Elisabeth, and Tchaikovsky, and enjoy global careers as performers and teachers. The Piano Excellence Fund was created to support this legacy of excellence by funding the needed replacement of more than 65 pianos and the ongoing maintenance and upkeep of nearly 200 pianos on stages and in classrooms and practice rooms across campus.

To learn more about naming a piano and other creative ways to support the Peabody Institute, contact: Jessica Preiss Lunken, Associate Dean for External Aﬀairs [email protected] • 667-208-6550 Welcome back to Peabody and the Miriam A. Friedberg Concert Hall. This month’s programs show o a remarkable array of musical styles and genres especially as related to Peabody’s newly imagined ensembles curriculum, which has evolved as part of creating the Conservatory’s groundbreaking Breakthrough Curriculum. First, the newly formed Peabody Studio Orchestra under the leadership of Nicholas Hersh brings the movies to Friedberg Hall with a screening of Charlie Chaplin’s A Dog’s Life with live accompaniment by the orchestra, just as Chaplin would have envisioned. The Studio Orchestra is a new ensemble in our reimagined ensembles program that provides students with an opportunity to perform in dierent genres, much as they will be called to do in the professional world. Also included here is the Peabody Conductors’ Orchestra program that features outstanding graduate conducting class students taking center stage for an all-Brahms concert. Peabody is proud to have one of top graduate conducting programs in the world, under the leadership of Marin Alsop. Then, the Peabody Symphony Orchestra under the direction of Joseph Young presents a program of Elgar and Borodin in Peabody’s annual concert in memory of Dr. Steven Muller, former President of Johns Hopkins University who is responsible for Peabody becoming part of Johns STEINWAY. Hopkins forty years ago. Jill McGovern, Dr. Muller’s spouse and a member of the Peabody Institute Advisory Board, generously sponsors this concert. YAMAHA. But there is more. Other concerts on the Peabody Campus and osite include performances from Jazz at Peabody which is enjoying a renaissance under the [ YOUR NAME HERE ] direction of Sean Jones, as well as performances of Purcell’s The Fairy Queen and Dido and Aeneas as part of an ongoing collaboration with Theatre Project. And coming up in early December, we’ll have our 2nd Dean’s Symposium of the year With your gi to the Piano Excellence Fund at Peabody, you can add your in what I expect will be an enlightening conversation with Pulitzer Prize-winning name to the quality instruments our outstanding faculty and students use writer and critic Tim Page. for practice and performance every day. As always, there are many more concerts and events to come in the second half The Piano Department at Peabody has a long tradition of excellence dating of our season. I invite you to check the calendar and reserve your free tickets. back to the days of Arthur Friedheim, a student of Franz Liszt, and continuing to this day, with a faculty of world-renowned artists including the eminent Leon Fleisher, who can trace his pedagogical lineage back to Beethoven. Fred Bronstein Peabody piano students have won major prizes in such international competitions as the Busoni, Van Cliburn, Naumburg, Queen Elisabeth, and Tchaikovsky, and enjoy global careers as performers and teachers. Dean The Piano Excellence Fund was created to support this legacy of excellence by funding the needed replacement of more than 65 pianos and the ongoing maintenance and upkeep of nearly 200 pianos on stages and in classrooms and practice rooms across campus.

Sergei Prokoﬁev (1891–1953) Suite from Lieutenant Kijé, Op. 60 I. The Birth of Kijé II. Romance III. Kijé’s Wedding IV. Troika V. The Burial of Kijé

INTERMISSION

Charlie Chaplin (1889–1977) A Dog’s Life Dog's Life Theme Labour Exchange Dog's Life Theme / Dog Chase Green Lantern Rag Coee and Cakes Green Lantern Snag Flat Feet / The Shimmy Song Triste Coda / 3 rags / Coee and Cakes / Jazz Kicked out (Coee and Cakes) Robbers / Robber Buries Money Jazz / Dog Digging / Charlie Finds Money Rag Romance March Miriam A. Friedberg Concert Hall Concert A. Friedberg Miriam

| D Minor Theme Robbers / Tete a tete Bar (Robbers) / Galop When Dreams Come True (Coee and Cakes / Dog's Life Theme) 7:30 pm

ORCHESTRA STUDIO

PEABODY 2018 17, November Saturday, In case of emergency, walk, do not run to that exit. 2 PROGRAM NOTES Suite from Lieutenant Kijé, Op. 60 Prokofiev’s attraction next turned to Sergei Prokofiev Neoclassicism, which combined certain Born April 23, 1891, in Ekaterinoslav, Russia. 18th century elements with newer Died March 4, 1953, in Moscow, Russia. techniques. The music of Haydn and Mozart, upon close examination, has This work was premiered on December 21, 1934, several features in common with that of on a Moscow radio broadcast. It is scored Prokofiev and other composers of his for piccolo, two flutes, two oboes, two generation. A sense of compactness, clarinets, tenor saxophone (or baritone balance, and a genteel flavor permeate voice), two bassoons, four horns, two the clearly defined textures of both trumpets, cornet, three trombones, tuba, eras. It was probably this built-in percussion, harp, piano, and strings. sense of structure that attracted many composers to Neoclassicism during Sergei Prokofiev was a privileged World War I. youth. His father managed an estate, earning enough to provide well for his Having been exiled from his homeland family. His parents were involved in his after the Russian Revolution of 1917, education and served as his earliest Prokofiev took up residence in Paris. teachers in general subjects, as well as As the Mecca for artistic types in the music. However, his almost aristocratic 1920s, Paris allowed for the composer’s background provided him with French modernistic experimentation, but and German governesses to help with somehow did not feel like home to foreign language instruction. It is perhaps him. Prokofiev always considered surprising that the young composer would himself to be a Soviet citizen and adopt Bolshevik attitudes to government registered as such in Paris after the in his 20s, as stated in his memoirs French government gave the U.S.S.R. two decades later that he enthusiastically diplomatic recognition in 1924. The backed the 1917 Russian Revolution. There composer returned to the Soviet is evidence that this support might not Union for two o¡cial visits during his have been completely wholehearted, as Paris residency — a 12 concert tour of the composer most certainly penned his Moscow and Leningrad in January of 1927, recollections with Soviet censors in mind. and another visit in November of 1929 To further fuel doubts, Prokofiev left the where he supervised a production of Soviet Union in 1918 and would not return his opera, The Love for Three Oranges. for 20 years. In 1932, while Prokofiev was in Paris, In Sergei Prokofiev’s earliest works, he the Russian film director Alexander struggled to balance the traditional Feinzimmer approached the composer with the innovative. On one hand, his about providing music for a new film. This works needed to be accessible enough dark comedy of errors would be entitled to draw an audience. But, on the other Poruchik Kijé (Lieutenant Kijé). Prokofiev hand, he had to establish himself as a accepted the commission — his first unique voice in modern music. Clearly a from the Soviet Union — and rented an child of his time, Prokofiev sometimes apartment in Moscow by the end of the experimented with the latest musical year, but still spent most of his time in trends in search of his individual Paris. However, his gravitation back to musical style. Russia was now inevitable. In 1936 he would move back permanently.

3 After completing the film score, A Dog’s Life Prokofiev extracted a suite to allow his Charlie Chaplin music to be heard in the concert hall. Born April 16, 1889, in London, United Kingdom. The Suite from Lieutenant Kijé follows Died December 25, 1977, in Corsier-sur-Vevey, the film’s story of an error by the Czar, Switzerland. as told in five short movements. They are as follows: Charles Spencer Chaplin was born in The Birth of Kijé — While reading London, England, on April 16, 1889. a military report, the Czar sees His father was a versatile vocalist and the Russian words “poruchiki actor; his mother, known under the je” (“the lieutenants, however …”) stage name of Lily Harley, was an as “Poruchik Kijé” (“Lieutenant attractive actress and singer, who Kijé”). Since contradiction of a gained a reputation for her work in the Czar is punishable by death, his light opera field. Chaplin was thrown on helpless secretaries have to create a his own resources before he reached Lieutenant Kijé on paper and give all the age of 10 as the early death of aspects of his life the details that any his father and the subsequent illness real o¡cer would have in his records. of his mother made it necessary for Romance — Kijé must have a love Chaplin and his brother, Sydney, to life, so the secretaries create one. fend for themselves. Having inherited In some performances, a baritone natural talents from their parents, the soloist sings of love, but most of youngsters took to the stage as the the time this duty falls to a solo best opportunity for a career. Chaplin double bassist. made his professional debut as a Kijé’s Wedding — Since most of the member of a juvenile group called The o¡cers were married, why not have Eight Lancashire Lads and rapidly won Kijé become a family man? Solos for popular favor as an outstanding tap cornet and tenor saxophone help dancer. When he was about 14, he got with the celebration. his first chance to act in a legitimate Troika — This music is taken stage show, and appeared as “Billy” from a scene in which merriment the page boy, in support of William abounds in a Russian three-horse Gillette in Sherlock Holmes. Chaplin open sleigh. The familiar theme is then started a career as a comedian accompanied by sleigh bells and a in vaudeville, which eventually took middle section is entrusted to the him to the United States in 1910 tenor saxophone. as a featured player with the Fred Burial of Kijé ¬ The Czar has taken Karno Repertoire Company and, in a special interest in Kijé and wants 1916, he signed with the Mutual Film to meet him. To protect themselves, Corporation for a much larger sum to the secretaries decide to give him make 12 two-reel comedies. a heroic demise. When his contract with Mutual expired ©2018 Orpheus Music Prose & Craig Doolin in 1917, Chaplin decided to become www.orpheusnotes.com an independent producer in a desire for more freedom and greater leisure in making his movies. He knew that he needed total creative autonomy in order to make the kind of comedy of which he alone was capable. This autonomy he finally achieved in 1918, when he built his own studio.

4 Hollywood was still rural, and the studio companionship with fellow outcasts, rose up among the orange groves in the Scraps, and a young girl exploited as grounds of an old mansion. Disguised a hostess in a disreputable dive, The on the outside as an old English village Green Lantern. With Scraps’ help, he street, the interior of the studio was, overcomes two thieves from whom he for those times, state of the art. Chaplin wins a well-filled wallet, which provides celebrated his move with an amusing the three with a happy end together. little documentary film, How to Make Along with his regular leading lady Movies, which showed the facilities Edna Purviance, Chaplin is joined for and personnel of the studio, and his the first time by his brother Sydney, own daily routine. In fact the film was who had shared his early struggles and never completed or released, and helped him make his way on the variety this precious view of early Hollywood theater circuit. An excellent comedian was not seen until 1959 when Chaplin in his own right, Sydney plays the included some shots in his compilation proprietor of the coee stall which is The Chaplin Revue. The films that victim to the pilfering of Charlie and Chaplin made in his own studio were Scraps. An odd feature of A Dog’s Life a marked advance on any comedies is that Chaplin has abandoned his usual previously made in Hollywood. They cane — presumably because he needed were generally longer — as much as his hand free to hold the dog’s leash. 45 minutes, whereas few comedies before that time went beyond half an Chaplin was one of the rare comedians hour — and much more sophisticated who not only financed and produced in staging and structure. The first was all his films (with the exception of A A Dog’s Life, for which Chaplin had Countess from Hong Kong), but was the an excellent co-star, in the charming author, actor, director, and soundtrack mongrel dog, Scraps, whose battle composer of them as well. He died on for survival with the other dogs of the Christmas day in 1977 and was survived quarter is satirically compared with by his eight children. Charlie the Tramp’s own struggle for a place in society. The Little Tramp finds © Roy Export SAS

5 ARTIST BIOGRAPHIES Nicholas Hersh Guest Conductor

Described as a "versatile and energetic conductor” (Tim Smith, Baltimore Sun), Nicholas Hersh continues to earn acclaim for his innovative programming and natural ability to connect with orchestras and audiences alike. As the associate conductor of the Baltimore Symphony Orchestra (BSO)—a position to which he was promoted from assistant conductor in 2016—Hersh leads the orchestra in a variety of classical and popular programs, notably including BSO Pulse, a concert series of his own conception that brings together Indie bands and orchestral musicians in unique collaborations. After his successful Baltimore Symphony subscription debut, stepping in for an indisposed Yan Pascal Tortelier, Hersh conducts the BSO in a set of subscription concerts each season, often utilizing the unique O the Cu format to familiarize new concertgoers with the orchestral repertoire. As a guest conductor, he has worked with orchestras around the country, including the New Jersey Symphony, North Carolina Symphony, and New World Symphony (Miami); 2018 debuts include the National Symphony (Washington, D.C.), Houston Symphony, and Phoenix Symphony. An avid educator, Hersh serves as the Artistic Director of the Baltimore Symphony Youth Orchestras and directs the BSO’s educational and family programming, including the celebrated Academy for adult amateur musicians. He is a frequent collaborator and guest faculty at the Peabody Conservatory as well as the BSO’s OrchKids program for Baltimore City schoolchildren. Hersh grew up in Evanston, Illinois and started his musical training with the cello. He earned a bachelor's degree in music from Stanford University and a master’s degree in conducting from the Indiana University Jacobs School of Music, studying with David Eron and Arthur Fagen. In 2011 and 2012 he was a conducting fellow with the prestigious American Academy of Conducting at Aspen—studying with mentors Robert Spano, Hugh Wol, and Larry Rachle—and has participated in master classes with Bernard Haitink and Michael Tilson Thomas. Hersh is also a two-time recipient of the Solti Foundation Career Assistance Award. Hersh is also frequently in demand as an arranger and orchestrator, especially for his skill in covering popular songs in an idiosyncratic orchestral style. His symphonic arrangement of Queen’s famous Bohemian Rhapsody continues to see worldwide success as a viral YouTube hit, and has had his work performed by orchestras around the globe.

6 PEABODY STUDIO ORCHESTRA Joseph Young, Ruth Blaustein Rosenberg Artistic Director of Ensembles Nicholas Hersh, guest conductor

Violin Violoncello Horn Brenda Koh † Olivia Raino * Yasmeen Richards * Wei-Ling Hu * Esther Cook Scott Campbell Huan Ci Sua Jo Jordan Dinkins Shannon Fitzhenry Elias Leceta Gomez-Nebreda Noah Tingen Hongming Hu Hye-Song Lee Trumpet Jennifer Jeon Hang Liu John Wagner * Esther Kim Ethan Sandman Sabrina Johnson Grace Kim Kahler Suzuki Edmond Wang Yeji Kim Yiyang Xue Trombone Wang Liang Double bass Zhiqi Liu Nicholas Bulgarino * Patrick Raynard * Ting-Hsuan Miao Sarah Lewandowski Andrew Butts Bella Ming Brock Drevlow Bass Trombone Zhixin Ouyang Rachel Keene Jahi Alexander Yujin Park Luke Reilly Yu-Chu Teng Tuba Chuanzi Wang Flute Samuel Adam Pei-Yin Wu Yerim Choi * Percussion Ae-Lin Youn Chelsea Anderson Ben Giroux Yvaine Zhang Christian Paquette Yukiko Nakamura Viola Oboe Yonatan Rozin Amy Tan * Niall Casey * Harp Han Dewan Vivian Tong Sydney Campen * Joey Fischer Clarinet Olivia Castor Carrie Jones Andrew Im * Keyboard Maksymilian Krzak Chad Thomas Mark Liu Sherry Du Gavon Peck Bassoon Guitar/Banjo Alaina Rea Kate Beavers * Sojourner McClure Ting An Wei Kelsey Tryon Yang Yang Assistant Conductor Saxophone Julie Desbordes Lan Zhang Kai Sun * Principal † Concertmaster

7 ALEX AMSEL HILO CARRIEL JULIE DESBORDES JONATHAN RUSH ISAIAH SHIM Students of the Graduate Conducting Program

Johannes Brahms (1833·1897) Tragic Overture, Op. 81 Julie Desbordes, conductor

Academic Festival Overture, Op. 80 Isaiah Shim, conductor

Symphony No. 2 in D major, Op. 73 I. Allegro non troppo Hilo Carriel, conductor

II. Adagio non troppo III. Allegretto grazioso (quasi andantino) Alex Amsel, conductor

IV. Allegro con spirito Jonathan Rush, conductor Miriam A. Friedberg Concert Hall Concert A. Friedberg Miriam

| 7:30 pm

ORCHESTRA CONDUCTORS'

PEABODY 2018 27, November Tuesday, In case of emergency, walk, do not run to that exit. 8 PROGRAM NOTES Tragic Overture, Op. 81 mentioned Brahms’ tendency in this Johannes Brahms work to develop each theme as soon Born May 7, 1833, in Hamburg, Germany. as it is presented, eectively doing Died April 3, 1897, in Vienna, Austria. away with the traditional development section. However, Brahms chose to This work was first performed on include a development section, but it is December 26, 1880, by the Vienna very dierent. During the development, Philharmonic with the Hans Richter the tempo slows and the first theme conducting. It is scored for woodwinds in returns, but it is transformed into a pairs with added piccolo, four horns, two peaceful version of itself. Brahms’ trumpets, three trombones, tuba, timpani, recapitulation section takes us by and strings. stealth ¬ not with a return of the opening theme, but of the opening key In 1879, when Johannes Brahms was of D minor. The short coda begins quietly, composing his Academic Festival but grows in intensity during the final few Overture, he was fraught with a dilemma. measures to provide a final flourish. This work was composed as a gesture of gratitude to the University of Breslau on ©2018 Orpheus Music Prose & Craig Doolin the occasion of bestowing an honorary www.orpheusnotes.com doctorate to the revered composer. While Brahms worked begrudgingly on Academic Festival Overture, Op. 80 his musical thank you note, he must have felt that he was wasting his time. This work was first performed on After all, he had several important January 4, 1881, at the University of projects underway at the time. One of Breslau in present-day Poland with the these was an oer for him to provide composer conducting. It is scored for incidental music for a Vienna production woodwinds in pairs with added piccolo and of Goethe’s Faust. When the production contrabassoon, four horns, three trumpets, fell through, Brahms was left with a three trombones, tuba, timpani, percussion, number of sketches of a serious nature. and strings. Never one to be wasteful with musical ideas, he forged them into a companion In 1853 Robert Schumann lauded the piece to the Academic Festival Overture 20-year-old Johannes Brahms as the that he eventually designated as the “young eagle” among composers. From Tragic Overture. that moment on, new opportunities presented themselves regularly as Brahms’ Tragic Overture, although demand grew for new works from much of its music grew from a specific this fresh new face on the musical drama, is general in its approach to scene. His pen flowed with chamber tragedy. Originally entitled Dramatic music, piano pieces, choral works, Overture, it tells no specific story, and art songs. However, it was not but is more of an examination of the until 1858 that his first orchestral storminess of human emotions. The work, the Serenade No. 1, appeared. two incisive chords that open this During the same period, he composed sonata-form work immediately set its his First Piano Concerto ¬ a flashy tone. After a pause, the first theme virtuosic work far removed from the is heard without delay. The two ideas brooding introspection of Brahms’ within this theme ¬ the flowing rising later masterpieces. Reception of the and falling motif and the dotted- First Concerto has been described as rhythm snippet with a decidedly ranging from “indierence to revulsion.” martial character ¬ are a microcosm The composer had simply not found his of all of the material in the overture. musical voice. Musicologist Jan Swaord has 9 Twenty years later Brahms was at Symphony No. 2 in D major, Op. 73 his creative peak and his music was presented on concert programs This work was first performed on worldwide. However, the composer December 30, 1877, in Vienna, with had an extreme fear of sea travel and Hans Richter conducting. It is scored a disdain for public adulation, so any for woodwinds in pairs, four horns, two journeys, except for those carried trumpets, three trombones, tuba, timpani, out by land, were out of the question. and strings. Therefore, when Cambridge University After Beethoven’s death in 1827, in England oered Brahms an honorary composers were held to an almost doctorate in 1876, he respectfully unattainable standard. The shadow cast declined the honor. Three years by his nine symphonies, a monolithic later, the University of Breslau (now body of work, intimidated many Wroclaw) in present-day Poland oered composers, causing some to delay their the composer the same degree. He first eorts in the genre until later in life. accepted. After attending the solemn Johannes Brahms, although a successful ceremony, Brahms penned a note of composer in his 20s, did not compose thanks to the school. His sentiments his Symphony No. 1 until he was 43. were answered by the director of Perhaps he explained it best, “You have musical studies in Breslau, Bernhard no idea how it feels to hear behind you Scholz, who clarified for his old friend the tramp of a giant like Beethoven.” As that the university expected a musical early as 1862, Brahms had sketched work in exchange for the honor. The some of the material he would later following summer, in the resort town use in the work. However, the pressure of Bad Ischl, Brahms composed his to complete a symphony was always Academic Festival Overture. palpable. Finally, when he was oered Brahms’ only experience with the world a position in Düsseldorf, he decided of academia had been gained from a to write a symphony as a capstone to two-month stay with his violinist friend his Viennese experience. Although he Joseph Joachim in the university town ultimately declined the position, Brahms of Göttingen nearly 30 years earlier. completed the symphony. The two became acquainted with the While Brahms’ first symphony is a beer halls, learning several student monumental statement of personal drinking songs in the process. It was triumph, the second is more intimate ¬ a the only university experience that the gentle caress of sound that is more in the composer knew. Brahms included in spirit of a sunny serenade. It is almost as if his score what he remembered from the specter of Beethoven had disappeared, Göttingen, causing the resulting work and Brahms was now able to freely to be more of a boisterous potpourri compose symphonies without repression of student songs than a solemn work or fear. While the first symphony took for a ceremonial occasion. Imagine the nearly a decade to complete, the second surprise of the university dignitaries was finished in just four months. When and city o¡cials when Brahms himself the composer discussed the new work conducted his celebratory score in with friends, he playfully described it as a early 1881. Although the faculty and very somber and tragic work. “The new administrators were perplexed, the symphony is so melancholy that you will students surely understood the esteemed not be able to bear it,” he told his publisher, composer’s wicked sense of humor. Fritz Simrock. Nothing could be further ©2018 Orpheus Music Prose & Craig Doolin from the truth. www.orpheusnotes.com

10 Brahms’ second symphony begins with Cast in sonata form, this perfectly a three note musical germ that pervades balanced movement explores the many the entire symphony. First heard in the subtleties of the musical spectrum, low strings, the motif D - C-sharp - D perhaps most notably the shadings and is found in each movement (in nearly contrasts of major and minor chords. every theme) as the symphony unfolds. Marked allegretto grazioso, the third The first movement, allegro non troppo, movement has a decidedly rustic charm. receives its almost pastoral character This lilting section opens with an oboe from its broad horn melody ¬ purposely solo that sounds almost like a rustic waltz. avoiding a gigantic opening as in the As the movement progresses, the strings first symphony and replacing it with an present a new segment in 2/4, setting expansive musical landscape. It is easy forth the triple/duple contrast that occurs to speculate that Brahms might have throughout the movement. intended this as a musical portrait of Lake Worth in Southern Austria, where The finale allegro con spirito is rhythmic he composed the bulk of the symphony. and eervescent. Opening with a quiet Continuing with a second theme that passage, the movement erupts forth bears a remarkable resemblance to with excitement. Unexpectedly, the the composer’s famous Lullaby, it second theme takes on the character of a is tinged with tender melancholy. chorale with a palpable aura of restrained Brahms’ three-note motif returns in the power. Brahms develops both themes and development section and is put through proceeds through a meticulously crafted every possible twist and turn. The recapitulation before the glorious coda. In recapitulation emerges from the storm, this final section, he recalls the chorale¬ this and the movement ends peacefully. time unleashing all the bottled energy to end the work in triumph. The second movement adagio non troppo is deeply emotional, easily the ©2018 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com most introspective section of the work.

11 ARTIST BIOGRAPHIES Alex Amsel Argentinian-born conductor Alex Amsel is quickly establishing himself as a conductor who is equally at home with orchestral and operatic repertoire, as well as in music education for students of all ages. Amsel’s recent engagements include assistant conductor and choir master for the Peabody Conservatory Symphonies and Opera, and Faculty Conductor for the Philadelphia International Music Festival. Amsel has worked as Assistant Conductor for the Fort Worth Symphony Orchestra and Symphony New Hampshire. Other recent engagements have been as Associate at the Cabrillo Music Festival and Assistant Conductor for the Hot Springs and Miami Festivals, where he was the winner of the Miami Music Festival Conducting Competition and led the Miami Music Festival Orchestra in concert at the New World Center. Amsel currently studies under the tutelage of Marin Alsop at the Peabody Conservatory. When not studying music, he is a wine and golden retriever aﬁcionado.

Hilo Carriel Born and raised in the state of Amazonas, Brazil, Hilo Carriel is a conductor and pianist with a strong connection to vocal and choral repertoire. Recently nominated as the new Baltimore Symphony Orchestra Peabody Conducting Fellow, Carriel is pursuing his master's degree in orchestral conducting under the guidance of Marin Alsop at the Peabody Consevatory, where he has also served as assistant conductor for orchestras and choirs. Carriel holds a bachelor's degree in music from the State University of Amazonas Superior School of Arts and Tourism.

Julie Desbordes Since her conducting debut in France at age 17, Julie Desbordes has conducted orchestras throughout North and South America, her native France, and Asia, debuting on the Asian professional scene in 2016 with the Malaysian Philharmonic Orchestra. Currently living in both New York City and Baltimore, her recent international appearances as guest conductor include concerts in Venezuela, Cuba, Hong Kong, and Taiwan. While completing her doctorate in orchestral conducting at Peabody, mentored by Maestra Marin Alsop, Desbordes’ professional commitments include being the artistic director of two New York City orchestras ¬ the Turtle Bay Youth Orchestra and the Queer Urban Orchestra. Desbordes harbors a passion for education and outreach, being very active in the El Sistema movement after working in Harlem for the Harmony Program, being runner-up for the directorship of the Los Angeles Philharmonic’s Youth Orchestra program (YOLA), and being featured in the powerful documentary, Crescendo! The Power of Music, by Jamie Bernstein (daughter of Leonard Bernstein). Desbordes holds degrees in both conducting and trumpet from music conservatoires in Limoges, Bordeaux, and Montreal. Her conducting teachers have included Ra¡ Armenian and Gustav Meier.

12 Jonathan Rush Emerging young conductor and winner of the Respighi Prize in Conducting, Jonathan Rush brings passion, unique interpretation, and refreshing energy to the orchestral repertoire. As a conductor, Rush has served as music director of the Buckeye Philharmonic Orchestra, as well as a conducting fellow for the Baltimore Symphony Youth Orchestra. In 2018, he was named a Project Inclusion Conducting Fellow with the Chicago Sinfonietta, where he works with music professionals and fellow conductors, to help encourage diversity in orchestras across the United States. As the winner of the Respighi Prize in Conducting at age 22, Rush made his professional orchestra debut with the Chamber Orchestra of New York in the legendary Carnegie Hall. His current teachers of conducting are Marin Alsop, Mei-Ann Chen, and Joseph Young. Rush is currently a 2nd year graduate conducting student at the Peabody Institute of the Johns Hopkins University.

Isaiah Shim Isaiah Shim is an emerging conductor and pianist in the Baltimore–Washington metropolitan area. Recent engagements include collaboration with the Baltimore, Peabody, and Wheaton Symphony Orchestras. He serves as assistant conductor for the Maryland Classic Youth Orchestras and Young Artists of America at Strathmore in North Bethesda, Md. As a pianist, he frequently plays in chamber and orchestral settings including TwoSet Violin, the National Symphony, and Philharmonic Orchestras. Outside of the United States he has performed in Australia, Dominican Republic, Italy, Korea, Mexico, Thailand, and the United Kingdom. Shim’s gifts as a classical pianist and conductor are enhanced by his skill and passion for improvisation and arranging. His creative improvisations in a variety of musical styles and insightful arrangements have been featured regularly in his concerts. Shim is currently pursuing a master’s degree in orchestral conducting, studying with Marin Alsop and Joseph Young, at the Peabody Conservatory. He received bachelor’s degrees in piano performance and music education from Wheaton College, where he studied piano with Karin Redekopp Edwards and conducting with Daniel Sommerville and John William Trotter.

13 PEABODY CONDUCTORS' ORCHESTRA Joseph Young, Ruth Blaustein Rosenberg Artistic Director of Ensembles

Violin Violoncello Horn Shannon Fitzhenry † Ismael Guerrero * Scott Campbell Fangming Shen * Elias Leceta Gomez-Nebreda Jordan Dinkins Nicolle Avila Olivia Raino Yasmeen Richards Tavifa Cojocari Kyle Victor Noah Tingen Sheila Esquivel Double Bass Scott Ullman Claire Hebeisen Jesus Apodaca * Trumpet Christopher Jasiewicz Andrew Butts Jason Aylward * Ji-Seong Kim Samuel Dugo Sabrina Johnson Minjin Lee David Sayers Wang Liang Flute Yujin Park Christian Paquette * Trombone Tong Sha Adam Eydelson Sarah Lewandowski * Jesse Su Piccolo Jahi Alexander Nicholas Bulgarino Jerry Tong Chelsea Kaye Anderson Sixuan Zhu Oboe Tuba Kevin Freeman Viola Niall Casey * Gavon Peck * Gabriella Alberico Timpani Daphne Bickley Benjamin Stevenson Robert Rocheteau Han Dewan Vivian Tong Carrie Jones Percussion Maksymilian Krzak Clarinet Colin Crandal Hyunjung Song Jay Shankar * Ben Giroux Chad Thomas Taylor Davis Bassoon Mateen Milan * * Principal Xinqi Dong † Concertmaster Kelsey Tryon

14 UPCOMING EVENTS

HIP-HOP ENSEMBLE Sunday, December 2 6:00 pm

WIND FACULTY SHOWCASE Monday, December 3 7:30 pm Sylvia Adalman Chamber Series

PEABODY WIND ENSEMBLE Tuesday, December 4 7:30 pm

PEABODY CHAMBER ORCHESTRA PEABODY-HOPKINS CHORUS Wednesday, December 5 7:30 pm PEABODY SINGERS

PEABODY LATIN JAZZ ENSEMBLE Thursday, December 6 7:30 pm

For FREE tickets, call 667-208-6620 or visit peabody.jhu.edu/events

Opera, jazz, orchestral and MUSIC THAT’S choral music, chamber music, dance, new music, early music– all free. So have a night out with EXPRESSIVE, world renowned guest artists, acclaimed faculty, and top-level NOT EXPENSIVE. student performers.

Enjoy performance excellence at Peabody for FREE. IT’S ON US!

15 Saturday, December 1, 2018 Annual Peabody Symphony Orchestra Concert In Memory of STEVEN MULLER Johns Hopkins University President 1972–1990

“President Steven Muller had the foresight to see that not only was the oldest conservatory of music in the United States worth preserving and investing in, but that the great university over which he presided could benefit from adding an artistic heart to its enterprise. All of us who love music and dance and cherish this institution owe a huge debt of gratitude to Steve Muller, and we are honored to celebrate him here today.” — Jeffrey Sharkey, director of the Peabody Institute, at the memorial service for Steven Muller: A Celebration of his Life and Leadership on February 22, 2013 Steven Muller may be regarded as the savior of the Peabody Institute but he was first and foremost a fan of Peabody. Music was always a part of his life. In his youth in Hamburg, he studied the violin and, after his family fled Nazi Germany and moved to Los Angeles, he was a member of the Le Conte Junior High Troubadours, an all-male a cappella group. He was known to have belted out parodies of well-known songs at home and, once, he sang his entire speech to the Hopkins President’s Club in New York. And he was delighted to join Maestro Leonard Bernstein in a chorus of “Happy Birthday” to Ruth Blaustein Rosenberg before Peabody’s Commencement Ceremony in 1980. A generous gift from the Jill E. McGovern and Steven Muller Fund has been made to the Peabody Institute to launch and endow this annual concert in memory of Steven Muller and in tribute to all those with whom he worked to preserve Peabody for generations to come.

16 JOSEPH YOUNG CONDUCTOR Ruth Blaustein Rosenberg Artistic Director of Ensembles MAFALDA SOFIA SANTOS VIOLONCELLO Winner of the Peggy and Yale Gordon Concerto Competition

Edward Elgar (1857–1934) Violoncello Concerto in E minor, Op. 85 I. Adagio II. Lento III. Adagio IV. Allegro

Mafalda Soﬁa Santos, violoncello Winner of the Peggy and Yale Gordon Concerto Competition Saturday, December 1, 2018

INTERMISSION

Alexander Borodin (1833–1887) Symphony No. 2 in B minor I. Allegro II. Scherzo: Prestissimo III. Andante IV. Finale: Allegro |

7:30 pm PEABODY |

Miriam A. Friedberg Concert Hall Ruth Blaustein Rosenberg Series SYMPHONY ORCHESTRA

Please disable all electronic devices including phones and tablets during performances. The use of cameras and sound recorders during performances without the express prior written permission of Peabody is strictly prohibited. For your own safety, look for your nearest exit. In case of emergency, walk, do not run to that exit. 17 PROGRAM NOTES Violoncello Concerto in E minor, Op. 85 health, he consented to surgery in hope Edward Elgar of alleviating future infections. During Born June 2, 1857, in Broadheath, his recovery, Elgar sketched the theme near Worcester, England. that would become the basis of the Died February 23, 1934, in Worcester, England. Cello Concerto — a barren melody of great loneliness and resignation. After This work was first performed on October 27, the war ended, much of Europe lay in 1919, in Queen’s Hall in London, England, by ruins and millions had been killed. Not the London Symphony Orchestra with the yet feeling a real sense of celebration, composer conducting and Felix Salmond as Elgar concentrated on organizing soloist. It is scored for cello soloist, piccolo, premieres of several unperformed two flutes, two oboes, two clarinets, two chamber works. During this time, Elgar bassoons, four horns, two trumpets, three befriended the cellist Felix Salmond, for trombones, tuba, timpani, and strings. whom he composed the Cello Concerto Sir Edward Elgar is considered by many in 1919. However, the composer to have been the quintessential English dedicated the work to Sir Sydney Colvin, composer. His music is filled with the an archivist at the British Library, who was stirring themes that bring to mind the one of the composer’s closest friends. pomp and circumstance of coronation, Elgar’s Cello Concerto was his last the beauty of the English countryside, important work. While most of his and the reserved sophistication that music features colorful orchestrations represents Britishness in the minds of for a large ensemble, this piece many. However, his own countrymen is more understated to allow the were slow to accept his music. He soloist to be heard. The concerto is was nearly 50 years of age before his in four movements. Most concerti reputation was sealed with the premiere begin with an extended orchestral of one work — the Enigma Variations. section in which the main thematic From that point on, he was recognized material is first heard. Traditionally, as the greatest British composer since the soloist enters afterward and either Henry Purcell (1659·1695). reintroduces the themes or provides Elgar represents the first peak of the reflective commentary. Elgar eschews English Musical Renaissance, a period tradition and opens his concerto with of concentrated musical excellence in a meditative theme for cello alone. Britain that began in the last decade As a whole, the first movement is a of the 19th century and flourished lament for all that was lost in World until World War II. Composers such as War I — of course, the people but also Hubert Parry, Herbert Howells, Charles the entire 19th century way of life. Villiers Stanford, and Gustav Holst Continuing without pause, the second were among the first to champion the movement is a quick interlude with cause of English music with works a mood of merriment inspired by the based on British subjects. Texts drawn respite he found during the war at his from poets, especially William Blake, country home in Sussex. The adagio and English folk tunes served as the third movement has a lyrical air of inspiration for these works. nostalgia. Built on one theme, it is the most reflective of the four movements. In March of 1918, Elgar developed a Elgar’s finale is noble and ceremonial, sore throat that developed into severe but with tinges of the unrest that tonsillitis. As a man of 61 with chronic ill

18 pervades much of this piece. Triumph is drew four young followers into his tempered with anguish, creating a work circle of influence that would change of great depth and meaning. Russian music forever. Nikolai Rimsky- As a tragic postscript, Lady Elgar died Korsakov was a naval bandmaster in early 1920 and her husband found who would later teach the composers that he could not overcome his sorrow. Stravinsky and Glazunov. The group His career as a composer was over. was completed by César Cui, an army o¡cer; Modeste Mussorgsky, a civil ©2018 Orpheus Music Prose & Craig Doolin servant; and Alexander Borodin, a www.orpheusnotes.com physician and a lecturer in chemistry at the Academy of Medicine. Together they were known as Mogushaya Kuchka Symphony No. 2 in B minor or “Mighty Handful” (sometimes Alexander Borodin called “The Russian Five”). Although Born November 12, 1833, in St. Petersburg, Russia. this loose-knit group revered true Died February 27, 1887, in St. Petersburg, Russia. musical ability, they were even more enthusiastic about the possibility of This work was first performed in 1877 in producing original music drawn from St. Petersburg. It is scored for two piccolos, the folk traditions of Russia. They three flutes, two oboes, English horn, two provided support and advice for each clarinets, two bassoons, four horns, two other as they each worked toward trumpets, three trombones, tuba, timpani, higher goals. This group was able to percussion, harp, and strings. explore Russian folk material largely because they were not mired by After Glinka’s successes in the 1840s Germanic traditions and could compose as the first Russian composer of without restrictions. consequence, many musical amateurs began to take an interest in Russian Borodin described himself to musical subjects. Although Glinka’s music was acquaintances as “a Sunday composer flavored with some folk elements, who tries to remain obscure.” His nowhere does it truly emulate the true duties as a doctor of medicine and a music of the Russian countryside. The lecturer in chemistry at the Academy idea of a real Russian musical style of Medicine kept Borodin from created by and for Russian people was musical endeavors during the work too attractive to dismiss. However, the week. Although he had little time for Germanic musical forms that Glinka composition, his colleagues managed brought back from his studies in Berlin to encourage him to compose many were clearly not satisfactory for these important works, including several purposes. Likewise, any true reform small pieces for piano, some art songs, would not come from the musical and a handful of chamber works. establishment that had fully espoused However, Borodin’s most important Glinka’s style. legacy is heard in his three operas (including The Tsar’s Bride and Prince The answer would come from a motley Igor) and his three symphonies. The First crew of musical amateurs whose leader Symphony was the composer’s first was a minor composer of meager mature work, but it received lukewarm successes. Mily Balakirev, a protégé and reviews at its premiere. Borodin’s student of Glinka, had once held great Third Symphony was left unfinished promise as a pianist and composer, at his death but was completed by but a bout with encephalitis had stolen composer Alexander Glazunov from his career. However, his influence

19 just a few sketches. Unfortunately, the A quicksilver scherzo asserts an result contains much more Glazunov ample measure of rhythmic interplay, than Borodin. Therefore, it is accurate foiled only by a contrastingly tender to consider the Second Symphony as trio section. Borodin’s poignant third Borodin’s most important orchestral work. movement andante contains some Filled with all the hallmarks of the of this symphony’s greatest musical Russian folk style, Borodin’s Second delights from the exquisite solos for Symphony, completed in 1876, is one clarinet and horn to the ravishing of the jewels of Russian romanticism. climax for full orchestra. The work opens with an incisive motto The rhythmic and propulsive finale is figure in the unison strings and low imbued with a Slavic festiveness that is winds that pervades the opening undeniable. Particularly interesting is movement. This brooding and quietly the use of asymmetrical phrases that triumphant music is contrasted by a lend the character of a Russian peasant more lyrical second melody first heard dance. A more lyrical melody, first in the woodwinds. As the movement heard in the woodwinds, combines with unfolds, the mood alternates between the opening dance in the final measures severity and tenderness, but always of the symphony to create a dazzling with clarity of orchestration that makes flurry of orchestral fireworks. Borodin’s intentions unmistakable. ©2018 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

20 ARTIST BIOGRAPHIES Joseph Young Conductor

Increasingly recognized as “one of the most gifted conductors of his generation,” Joseph Young made his debut in the 2017·18 season as the Ruth Blaustein Rosenberg Artistic Director of Ensembles at the Peabody Conservatory. In this role, he leads the programming and direction of all Peabody Conservatory instrumental ensembles. In his most recent role as assistant conductor of the Atlanta Symphony, Young conducted more than 50 concerts per season with the Atlanta Symphony and also served as the music director of the Atlanta Symphony Youth Orchestra. Previous appointments have included resident conductor of the Phoenix Symphony, where he made his subscription debut in the 2011·12 season, and League of American Orchestras Conducting Fellow with Bualo Philharmonic and Baltimore Symphony. Young made his major American orchestral debut in January 2008 with the Baltimore Symphony Orchestra and has since appeared with Saint Louis Symphony, Bualo Philharmonic, Colorado Symphony, Charleston Symphony, Phoenix Symphony, Bamberger Symphoniker, Spoleto Festival Orchestra, Orquestra Sinfónica do Porto Casa da Música, Orquesta Sinfonica y Coro de RTVE (Madrid), and Chicago Sinfonietta, among others. In the 2015·16 season he made his subscription debut with the Atlanta Symphony and Little Orchestra Society. Young is a recipient of the 2015 Solti Foundation U.S. Career Assistance Awards for young conductors, an award he also won in 2008 and 2014. In 2013, Young was a semi-ﬁnalist in the Gustav Mahler International Conducting Competition in Bamberg, Germany. In 2011, he was one of six conductors featured in the League of American Orchestras’ prestigious Bruno Walter National Conductor Preview, hosted by the Louisiana Philharmonic. Young earned his bachelor’s degree in music education at the University of South Carolina and completed graduate studies with Gustav Meier and Markand Thakar at the Peabody Conservatory in 2009, earning an Artist Diploma in conducting. He has been mentored by many world-renowned conductors including Jorma Panula, Robert Spano, and Marin Alsop with whom he continues to maintain a close relationship.

21 Mafalda Soﬁa Santos Violoncello

Portuguese cellist Mafalda Santos started her musical studies at the age of 3 in violin and began studying cello at the age of 7 with Daniela Brito and Raquel Andrade. Since then she has been a student of Miguel Fernandes, Romain Garioud, Nuno Abreu, and Paulo Gaio Lima in Espinho (Porto) and Lisbon. In 2017 she started her studies with Amit Peled at the Peabody Conservatory of the Johns Hopkins University, which she attends on a full scholarship. She is the first prize winner of the main cello competitions in Portugal, both national and international: Marília Rocha (2008/2013/2014), Paços Premium (2009/2011/2013), Prémio Bomtempo (2014), Sta. Cecília International Competition (2014), 17º Fundão International Competition, among others. Mafalda is also the first prize winner of IV Concurso de Violín e Violonchelo Cidade de Vigo (Spain, 2015). Additionally, she has been awarded the Prémio Marília Rocha prize in 2013 and 2014 among all instruments, for the best interpretation of a Portuguese piece. As a first prize winner of London Grand Prize Virtuoso and Rising Stars Grand Prix, Santos has performed at the Royal Albert Hall (Elgar Room) and at the Berliner Philharmoniker (Chamber Music Hall) in 2016. A prize winner of Prémio Jovens Músicos, she gave a recital that was broadcast for the National Portuguese Radio Antena 2 in 2017. As first prize winner of the Yale Gordon Competition in 2018, she made her debut at the Music in the Great Hall series and will perform at the Shriver Hall Discovery Series in February 2019. Santos has attended several master classes in Portugal, Spain, Italy, France, Germany, and Austria with David Geringas, Jens-Peter Maintz, Gary Homan, Wolfgang Emanuel Schmidt, Amit Peled, Johannes Moser, Lluis Claret, Maria de Macedo, Paulo Gaio Lima, Elizabeth Wilson, Edoardo Sba¡, and Xavier Gagnepain, among others. She has performed several times as a soloist with orchestra, under conductors Pedro Neves, Reinaldo Guerreiro, Cesário Costa, and Francisco Pérez. Santos performs on a 1790 William Forster cello donated to the Peabody Institute by Janet S. Greive and on a bow made by Benoit Rolland in 2004.

22 PEABODY SYMPHONY ORCHESTRA Joseph Young, conductor Ruth Blaustein Rosenberg Artistic Director of Ensembles

Violin Violoncello Horn Sarah Thomas † William Ren * Yasmeen Richards * Jerry Tong * Hotin Chan Maxwell Arceneaux Nicolle Avila Blair Cheng Teresa Deskur Winnie Chen Justin Cheung Rachel Jones Grace Chen Lindsey Choung Rachel O'Connor Yung Tzu Chen Hye-Song Lee Scott Ullman Ann Ching Rahel Lulseged Trumpet Kaden Culp Addie Olsen Todd Oehler * Yiqing Fu John Sample Val Castillo Heng Guo Julia Solomon Sam Stout Claire Hebeisen Kyle Victor John Wagner Ryan Huo Zhang Zhang Trombone Christopher Jasiewicz Double bass Alicia Kim Ben Magrowski * Noah Strevell * Erin Kim Jon Hutchings Michael Djabarov Jun Ha Kim Carter Jackson Benjamin Hamilton Anita Kuo Bennett Monuki Sophia Kelsall Phoebe Leng April Kim Tuba Eashwar Mahadevan Eion Lyons Quentell Gipson Sean Meng Ruoying Pan Flute Timpani Eunice Park Hongsuh Cha * Taylor Davis Tong Sha Gyu Ri Kim Percussion Sayer Stewart Hannah Tassler Sandra Chang KaiLai Zhang Oboe Jessie Chiang Sixuan Zhu Gabriella Alberico * Robert Rocheteau Viola Andrea Copland Mingyu Son Brian Anderson * Benjamin Stevenson Harp Daphne Bickley Clarinet Melody Leung * Maddi Brightbill Sheng Chen * Anita Tzy Yiing Chan Assistant Conductor Andrew Im Alex Amsel Will Church Siyuan Yin Andrew Goo Hannah Jung Bassoon * Principal Guanlun Li John Gonzalez * † Concertmaster Jonathan Milord Casey Patterson Kate Moran Setareh Parvaresh William Satterﬁeld Lehan Wang

23 Michiko Sakai and Jay Jones Thomas MacCracken Alma D. Hunt/VCM Charitable Trust THE GEORGE PEABODY SOCIETY Dorothy * and Louis Pollack Paul E. McAdam * Donna and Eric Kahn Presser Foundation Barbara and John McDaniel Dure Shehwar R. Khan $1.4 MILLION AND ABOVE T. Rowe Price Foundation Lloyd E. Mitchell Foundation Trust Ralph W. Kuncl Barbara and David Roux Clara Juwon Ohr D. L. Langdon We recognize those philanthropic visionaries whose lifetime cumulative giving has matched or exceeded George Peabody’s founding gift of $. million. Christine Rutt Schmitz and Thomas Pozefsky Sara W. Levi Their generosity has expanded and transformed the Peabody Institute of the Johns Hopkins University. Robert Schmitz Linda B. and Richard Q. Snurr Jessica Preiss Lunken and The names are ordered by the date when they joined this elite group of donors. Adam G. Shapiro Marguerite M. VillaSanta David A. Lunken George Peabody Elizabeth J. and Richard W. Case John L. Due Judith R. and Turner B. Smith Margaret C. and Patrick C. Walsh Suzanne and John Peter Mantegna Sidney M. Friedberg Florence H. and Charles R. Austrian Taylor A. Hanex Speedwell Foundation Grace C. and Frank Chi-Pong Yin Barbara P. and Martin P. Wasserman Valerie and Michael Marcus Charitable Trust Michael R. Bloomberg Rheda Becker and Wells Fargo Foundation Paul B. Mathews The Blaustein-Rosenberg- Anonymous Robert E. Meyerho DIRECTOR’S CIRCLE Thalheimer Philanthropic Group Thomas Wilson Sanitarium for Carol and Paul Matlin Tristan W. Rhodes Laifun Chung and Ted Kotche Children of Baltimore City $1,000–$2,499 Irene T. Kitagawa and Eric and Edith Friedheim Hilda P. and Douglas S. Goodwin Sandra Levi Gerstung and the Marin Alsop Stephen S. McCall Loretta Ver Valen Levi Family Fund II of the CONCERTMASTER’S CIRCLE Anonymous Jean and Paul R. McHugh Claire S. and Allan D. Jensen Baltimore Community Foundation Arabella Leith Carol and Steven Batoff Cynthia and Michael McKee Symington Griswold Marc C. von May Cynthia and Paul Lorraine $5,000–$9,999 Aurelia G. Bolton Gary Melick Wendy G. Griswold and Thomas H. Powell Nancy S. Grasmick Bank of America Foundation ‡ Anders V. Borge Sharon and Andrew Nickol Benjamin H. Griswold IV Anonymous Liz and Fred Bronstein Susan and John Brantley Eugene Minusk Ohr Phyllis Bryn-Julson and Helene Breazeale Eleanor Simon and Donald Sutherland Patrick O’Neall THE 2017–18 FRIEDBERG SOCIETY Mary C. R. S. Morgan and Laura B. Garvin-Asher and Margaret B. Otenasek This society is named in honor of Sidney and Miriam Friedberg, whose generosity launched a new era Edward J. Asher David J. Callard Elizabeth and Jonathan Peress of philanthropic leadership at the Peabody Institute. Friedberg Society donors sustain and enhance Ruby and Robert Wesley Hearn Carol Cannon Michael Pham Peabody by giving $, or more over the course of a ﬁscal year. The donors listed below have made Hecht-Levi Foundation W. P. Carey Foundation outright gifts or pledges at the Friedberg Society level between July , , and June , . Kimberly and Townsend Plant Jephson Educational Trusts Linda P. Carter Lawrence Pollack CHAIRMAN’S CIRCLE COMPOSER’S CIRCLE Amy L. Gould and Robert Wood Johnson Foundation ‡ L. Chinsoo Cho Matthew S. Polk Jr. Donald Regier Kingsley’s Cause Private Foundation Kathleen Whalen and Frederick Cohen $100,000 AND ABOVE $50,000–$99,999 Lori Raphael and Burr and Judi Short J. Michael Hemmer Koret Foundation Margaret Hammond Cooke * Anonymous * Brookby Foundation Terry Meiselman Shuch and Julie A. Walters and Samuel G. Rose Susan J. Linde Barbara J. Cowie and Robert Austrian * Carol M. Condon William H. Cowie Jr. Neal Meiselman Esther Carliner Viros Peabody Institute Fund of the Thomas R. Silverman Rheda Becker and Charles Delmar Foundation Baltimore Community Foundation Russell Davidson Foundation Robert E. Meyerhoff Andrew Yang Edward Steinhouse Jeffrey Gould * Lucinda M. Rouse Nijole Boguta Dedinas Elana R. Byrd Howard and Barbara Stowe David Wayne Helsley * Riva A. and Albert B. Shackman † Ruth L. and Arno P. Drucker Lester Dequaine – Hittman Family Foundation † VIRTUOSO’S CIRCLE Angela and Daniel Taylor Frank Chiarenza * Foundation Lisa Smith and Hildegard and Richard Eliasberg Maria Emma and Vanda McMurtry $10,000–$24,999 W. Christopher Smith Jr. Helen Stone Tice Laifun Chung and Ted Kotcheff Kimberly and Donald Evans Henry and Ruth Blaustein Pennie and Gary Abramson Marian and Abraham Sofaer Exelon Foundation ‡ Sheila and Erick Vail Rosalee and Richard Davison Rosenberg Foundation Anonymous Anne Luetkemeyer Stone Christine and John Fraser Mary Jo and Charles Wagandt Margaret and Robert Fisher Marc C. von May Richard W. Armstrong † Charles Emerson Walker Patrick Fraser Beverly Dietrich Weber Hilda Perl Goodwin * Reba A. Will Foundation Liza Bailey and Michael Musgrave Carole and Hang Fung Susan F. Weiss Janet Rayburn Greive and Shirley S. L. Yang Tyrone Greive Jacob and Hilda PRINCIPAL’S CIRCLE Mary Jo and James Gary Yolanda and Robert Wiese Wendy G. Griswold and Blaustein Foundation $2,500–$4,999 Wendy and Robert Ginsburg Wolman Family Foundation Benjamin H. Griswold IV MAESTRO’S CIRCLE Barbara and Thomas Bozzuto Avedis Zildjian Company Frances K. and George Alderson Google, Inc. ‡ Taylor A. Hanex $25,000–$49,999 Estelle Dennis Scholarship Trust Ireneus Bohdan Yaromyr Zuk Mary Lou Bauer Jean P. Gordon † Claire S. and Allan D. Jensen Evergreen House Foundation AEGON Transamerica Foundation Abra Bush Suruchi Mohan and Prabhat K. Goyal Calvin E. Jones Ira B. Fader Jr. Paul M. Angell Foundation Constance R. Caplan Ellen Halle and the Halle Family C. Albert Kuper III * Paula Boggs and Randee Fox Edith Hall Friedheim and the Philanthropic Fund Eric Friedheim Foundation Pauline Chapin † Cynthia and Paul Lorraine Jane W. I. and Larry D. Droppa Maureen Harrigan and Sandra Levi Gerstung and the Lydia and Charles Duff David McDowell Clarence Manger and Phillip T. Dunk Jr. * Audrey Cordero Plitt Trust * Levi Family Fund II of the Morton J. Ellin † Wilda M. Heiss Peggy and Yale Gordon Baltimore Community Foundation Thomas H. Powell Barbara S. Hawkins Cynthia Adams Hoover and Charitable Trust Karen Gober † Suzanne J. Schlenger * Patricia E. Kauffman Roland Armitage Hoover Tamera and Brian Hays Judith and Stephen Hittman † Hank Sopher Christopher Kovalchick Larraine Bernstein and Priscilla Huffman † Christina M. Holzapfel and Kenneth D. Hornstein Ci-Ying Sun Galan Kral + In-Kind Gift Sumati Murli and Sunil Kumar William Bradshaw Nancy and Robert Huber Beth Kronenwetter * Deceased Jill E. McGovern Nina Rodale Houghton Indian Spring Academy of Music ** Matching Gift Links, Inc.

The students, faculty, and sta of the Peabody Institute would also like to acknowledge the more than 1,000 dedicated donors whose gifts of $1 to $999 helped to realize Peabody’s 2017–18 academic year. 24 Michiko Sakai and Jay Jones Thomas MacCracken Alma D. Hunt/VCM Charitable Trust THE GEORGE PEABODY SOCIETY Dorothy * and Louis Pollack Paul E. McAdam * Donna and Eric Kahn Presser Foundation Barbara and John McDaniel Dure Shehwar R. Khan $1.4 MILLION AND ABOVE T. Rowe Price Foundation Lloyd E. Mitchell Foundation Trust Ralph W. Kuncl Barbara and David Roux Clara Juwon Ohr D. L. Langdon We recognize those philanthropic visionaries whose lifetime cumulative giving has matched or exceeded George Peabody’s founding gift of $. million. Christine Rutt Schmitz and Thomas Pozefsky Sara W. Levi Their generosity has expanded and transformed the Peabody Institute of the Johns Hopkins University. Robert Schmitz Linda B. and Richard Q. Snurr Jessica Preiss Lunken and The names are ordered by the date when they joined this elite group of donors. Adam G. Shapiro Marguerite M. VillaSanta David A. Lunken George Peabody Elizabeth J. and Richard W. Case John L. Due Judith R. and Turner B. Smith Margaret C. and Patrick C. Walsh Suzanne and John Peter Mantegna Sidney M. Friedberg Florence H. and Charles R. Austrian Taylor A. Hanex Speedwell Foundation Grace C. and Frank Chi-Pong Yin Barbara P. and Martin P. Wasserman Valerie and Michael Marcus Charitable Trust Michael R. Bloomberg Rheda Becker and Wells Fargo Foundation Paul B. Mathews The Blaustein-Rosenberg- Anonymous Robert E. Meyerho DIRECTOR’S CIRCLE Thalheimer Philanthropic Group Thomas Wilson Sanitarium for Carol and Paul Matlin Tristan W. Rhodes Laifun Chung and Ted Kotche Children of Baltimore City $1,000–$2,499 Irene T. Kitagawa and Eric and Edith Friedheim Hilda P. and Douglas S. Goodwin Sandra Levi Gerstung and the Marin Alsop Stephen S. McCall Loretta Ver Valen Levi Family Fund II of the CONCERTMASTER’S CIRCLE Anonymous Jean and Paul R. McHugh Claire S. and Allan D. Jensen Baltimore Community Foundation Arabella Leith Carol and Steven Batoff Cynthia and Michael McKee Symington Griswold Marc C. von May Cynthia and Paul Lorraine $5,000–$9,999 Aurelia G. Bolton Gary Melick Wendy G. Griswold and Thomas H. Powell Nancy S. Grasmick Bank of America Foundation ‡ Anders V. Borge Sharon and Andrew Nickol Benjamin H. Griswold IV Anonymous Liz and Fred Bronstein Susan and John Brantley Eugene Minusk Ohr Phyllis Bryn-Julson and Helene Breazeale Eleanor Simon and Donald Sutherland Patrick O’Neall THE 2017–18 FRIEDBERG SOCIETY Mary C. R. S. Morgan and Laura B. Garvin-Asher and Margaret B. Otenasek This society is named in honor of Sidney and Miriam Friedberg, whose generosity launched a new era Edward J. Asher David J. Callard Elizabeth and Jonathan Peress of philanthropic leadership at the Peabody Institute. Friedberg Society donors sustain and enhance Ruby and Robert Wesley Hearn Carol Cannon Michael Pham Peabody by giving $, or more over the course of a ﬁscal year. The donors listed below have made Hecht-Levi Foundation W. P. Carey Foundation outright gifts or pledges at the Friedberg Society level between July , , and June , . Kimberly and Townsend Plant Jephson Educational Trusts Linda P. Carter Lawrence Pollack CHAIRMAN’S CIRCLE COMPOSER’S CIRCLE Amy L. Gould and Robert Wood Johnson Foundation ‡ L. Chinsoo Cho Matthew S. Polk Jr. Donald Regier Kingsley’s Cause Private Foundation Kathleen Whalen and Frederick Cohen $100,000 AND ABOVE $50,000–$99,999 Lori Raphael and Burr and Judi Short J. Michael Hemmer Koret Foundation Margaret Hammond Cooke * Anonymous * Brookby Foundation Terry Meiselman Shuch and Julie A. Walters and Samuel G. Rose Susan J. Linde Barbara J. Cowie and Robert Austrian * Carol M. Condon William H. Cowie Jr. Neal Meiselman Esther Carliner Viros Peabody Institute Fund of the Thomas R. Silverman Rheda Becker and Charles Delmar Foundation Baltimore Community Foundation Russell Davidson Foundation Robert E. Meyerhoff Andrew Yang Edward Steinhouse Jeffrey Gould * Lucinda M. Rouse Nijole Boguta Dedinas Elana R. Byrd Howard and Barbara Stowe David Wayne Helsley * Riva A. and Albert B. Shackman † Ruth L. and Arno P. Drucker Lester Dequaine – Hittman Family Foundation † VIRTUOSO’S CIRCLE Angela and Daniel Taylor Frank Chiarenza * Foundation Lisa Smith and Hildegard and Richard Eliasberg Maria Emma and Vanda McMurtry $10,000–$24,999 W. Christopher Smith Jr. Helen Stone Tice Laifun Chung and Ted Kotcheff Kimberly and Donald Evans Henry and Ruth Blaustein Pennie and Gary Abramson Marian and Abraham Sofaer Exelon Foundation ‡ Sheila and Erick Vail Rosalee and Richard Davison Rosenberg Foundation Anonymous Anne Luetkemeyer Stone Christine and John Fraser Mary Jo and Charles Wagandt Margaret and Robert Fisher Marc C. von May Richard W. Armstrong † Charles Emerson Walker Patrick Fraser Beverly Dietrich Weber Hilda Perl Goodwin * Reba A. Will Foundation Liza Bailey and Michael Musgrave Carole and Hang Fung Susan F. Weiss Janet Rayburn Greive and Shirley S. L. Yang Tyrone Greive Jacob and Hilda PRINCIPAL’S CIRCLE Mary Jo and James Gary Yolanda and Robert Wiese Wendy G. Griswold and Blaustein Foundation $2,500–$4,999 Wendy and Robert Ginsburg Wolman Family Foundation Benjamin H. Griswold IV MAESTRO’S CIRCLE Barbara and Thomas Bozzuto Avedis Zildjian Company Frances K. and George Alderson Google, Inc. ‡ Taylor A. Hanex $25,000–$49,999 Estelle Dennis Scholarship Trust Ireneus Bohdan Yaromyr Zuk Mary Lou Bauer Jean P. Gordon † Claire S. and Allan D. Jensen Evergreen House Foundation AEGON Transamerica Foundation Abra Bush Suruchi Mohan and Prabhat K. Goyal Calvin E. Jones Ira B. Fader Jr. Paul M. Angell Foundation Constance R. Caplan Ellen Halle and the Halle Family C. Albert Kuper III * Paula Boggs and Randee Fox Edith Hall Friedheim and the Philanthropic Fund Eric Friedheim Foundation Pauline Chapin † Cynthia and Paul Lorraine Jane W. I. and Larry D. Droppa Maureen Harrigan and Sandra Levi Gerstung and the Lydia and Charles Duff David McDowell Clarence Manger and Phillip T. Dunk Jr. * Audrey Cordero Plitt Trust * Levi Family Fund II of the Morton J. Ellin † Wilda M. Heiss Peggy and Yale Gordon Baltimore Community Foundation Thomas H. Powell Barbara S. Hawkins Cynthia Adams Hoover and Charitable Trust Karen Gober † Suzanne J. Schlenger * Patricia E. Kauffman Roland Armitage Hoover Tamera and Brian Hays Judith and Stephen Hittman † Hank Sopher Christopher Kovalchick Larraine Bernstein and Priscilla Huffman † Christina M. Holzapfel and Kenneth D. Hornstein Ci-Ying Sun Galan Kral + In-Kind Gift Sumati Murli and Sunil Kumar William Bradshaw Nancy and Robert Huber Beth Kronenwetter * Deceased Jill E. McGovern Nina Rodale Houghton Indian Spring Academy of Music ** Matching Gift Links, Inc.

The students, faculty, and sta of the Peabody Institute would also like to acknowledge the more than 1,000 dedicated donors whose gifts of $1 to $999 helped to realize Peabody’s 2017–18 academic year. JOHNS HOPKINS UNIVERSITY PEABODY INSTITUTE ADVISORY BOARD ADMINISTRATION Janie E. Bailey Abbe Levin Ronald J. Daniels Rheda Becker Jill E. McGovern President Paula E. Boggs Christine Rutt Schmitz Sunil Kumar Barbara M. Bozzuto, Vice Chair Solomon H. Snyder Provost and Senior Vice President Richard Davison David Tan for Academic Aairs Larry D. Droppa David L. Warnock PEABODY INSTITUTE Leon Fleisher Shirley S. L. Yang Nancy S. Grasmick ADMINISTRATION Michael Greenebaum Fred Bronstein Taylor A. Hanex, Chair Dean Allan D. Jensen, Vice Chair EMERITUS MEMBERS Abra Bush Michiko S. Jones Pilar Bradshaw Senior Associate Dean of Institute Studies Laifun Chung Kotche Benjamin H. Griswold IV Sarah Hoover Christopher Kovalchick Turner B. Smith Associate Dean for Innovation, Interdisciplinary Partnerships, and Community Initiatives Jessica Lunken Associate Dean for External Relations Townsend Plant Associate Dean for Enrollment and Student Life

PRODUCTION STAFF

Chelsea Buyalos Ben Johnson Jessica Satava Concert Series Coordinator Senior Graphic Designer Concert Operations Supervisor Daniel Chaloux Renee Kelsey Adam Scalici Stage Coordinator Piano Technician Stage Coordinator and Audiovisual Assistant Elizabeth Digney Andrew Kipe Box Oce Coordinator Director of Concert and Mary Schwendeman Ensemble Operations Senior Piano Technician Robin Felt Ensemble Librarian Yuriy Kosachevich Amelia Stinnette Piano Technician Communications Coordinator Melina Gajger for Concert Programs Ensemble Program Manager Dennis Malat Technical and Stage Consultant Ryan Tani William Racine Ensemble Oce Coordinator Audiovisual Coordinator