THE 2018–19 CONCERT SEASON at PEABODY Peabody Wind Ensemble Tuesday, December 4, 2018

THE 2018–19 CONCERT SEASON AT PEABODY Peabody Wind Ensemble Tuesday, December 4, 2018

Peabody Chamber Orchestra Peabody-Hopkins Chorus Peabody Singers Wednesday, December 5, 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 a new philanthropic focus, 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 Relations [email protected] • 667-208-6550 It is hard to believe that we are already half-way through the 2018 19 concert season here at Peabody. There have been already many memorable performances over the last three months, and many more to come when we reconvene in January. Of course, it was just a few short weeks ago that Peabody presented Leonard Bernstein’s MASS in celebration of the Bernstein Centennial. Two years in planning, this was an enormous undertaking resulting in an important and thrilling moment for Peabody, a compelling performance attended by 3,000 at the New Psalmist Baptist Church. I remain so proud of our students, who rose beautifully to the challenge that this work entails, putting in countless hours of rehearsal and preparation. But one need only have seen the response of the audience and the numerous comments to follow from so many in attendance to realize the impact made. Peabody has been intentionally working to increase and strengthen our connections with our neighbors and communities throughout Baltimore, and this production of MASS, under the direction of Marin Alsop, oered the perfect opportunity to do so. Among more than 500 performers were members of the Baltimore City College High School Choir, the Baltimore School for the Arts Chamber Chorus, the Morgan State University Choir, and the New Psalmist Baptist Church Choir. We are grateful to have had STEINWAY. the opportunity to collaborate with such diverse and talented groups in bringing this work to life. YAMAHA. It’s an overused phrase, but MASS really is a production that “takes a village.” I recall this event one more time because I cannot help but think about the [ YOUR NAME HERE ] village we created, this production, and the impact of the performance on the community, in the context of what we experienced in our nation during that week of turmoil that included bomb threats, the shootings in a grocery store in With your gi to the Piano Excellence Fund at Peabody, you can add your Louisville, and the terrible events in a Pittsburgh synagogue. What artists can name to the quality instruments our outstanding faculty and students use do is provide a respite, a way for people to cope, and an outlet for emotional for practice and performance every day. expression. With its focus on the crisis of faith and questioning of institutions, The Piano Department at Peabody has a long tradition of excellence dating our MASS’ arrival seemed perfectly timed. If nothing else, we know that this back to the days of Arthur Friedheim, a student of Franz Liszt, and continuing performance provided at least two hours where people could inhabit a dierent place, to experience something good and positive and to have a chance to renew to this day, with a faculty of world-renowned artists including the eminent and reﬂect. That is, after all, what art can and must do. It’s with that in mind that Leon Fleisher, who can trace his pedagogical lineage back to Beethoven. we move forward with all our concerts knowing that what we do really does have Peabody piano students have won major prizes in such international the ability to impact and change lives for the better. competitions as the Busoni, Van Cliburn, Naumburg, Queen Elisabeth, and Tchaikovsky, and enjoy global careers as performers and teachers. The Piano Excellence Fund was a new philanthropic focus, created to Fred Bronstein 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. Dean

James Barnes (b. 1949) Fantasy Variations on a Theme by Niccolo Paganini

Robert Langenfeld (b. 1990) Concerto for Wind Ensemble East Coast Premiere

INTERMISSION

Carter Pann (b. 1972) My Brother’s Brain, a Symphony for Winds I. The Inventions II. Demonsphere III. The Hymn of Forgiving Miriam A. Friedberg Concert Hall Concert A. Friedberg Miriam

| 7:30 pm

ENSEMBLE WIND

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.

PEABODY 4, 2018 December Tuesday, In case of emergency, walk, do not run to that exit. 2 PROGRAM NOTES Fantasy Variations on a finish sketching this work so I could get Theme by Niccolo Paganini that silly little tune out of my head. James Barnes When I began work on this piece, I Born September 9, 1949, in Hobart, Oklahoma. realized that the various modern settings of this very 19th-century Commissioned by Col. John Bourgeois for theme were neither complimentary the United States Marine Band, Fantasy nor eective. The interplay between Variations on a Theme by Niccolo Paganini the melody and the harmony is such was premiered by the Marine Band at the a crucial factor on the impact of this 1988 Music Educators National Conference tune that to go too far afield from convention in Indianapolis, Indiana. During the original version is detrimental the years following its premiere, the band to the overall eectiveness of the performed this work on several national theme. I decided that, like Brahms tours, and on its first tour of Russia. and Rachmanino, I would stay with The set of twenty variations is based the basic harmonic progression that on the famous theme of Paganini’s Paganini used. The reason I wrote the 24th Caprice in A Minor for solo violin, piece in A minor is because Paganini’s which, of course, is the same theme Caprice (which is itself a set of nine used by Brahms and Rachmanino virtuosic variations) is in A minor. I did for their famous compositions, as well this out of respect for the composer’s as by more contemporary composers original intentions. such as Lutoslawski and Blacher. For My overall concept was to use the many years I had intended to write a variation technique to showcase set of variations on this clever theme every solo instrument and/or every for wind band, but I was waiting for instrumental section of the modern the opportunity to write it for a really wind band. In doing so, it was my intent superb group of players, so that I could to give the Marine Band a work they write whatever I wanted to say without could play almost anywhere for almost having to allow for the limitations of any kind of audience: a piece full of amateur players. When Col. Bourgeois energy, drama, and even a little humor. approached me about writing a piece James Barnes for the Marine Band, I told him on the spot what my plan was. I had been thinking of the piece and Concerto for Wind Ensemble improvising portions of it at the piano Robert Langenfeld for so long that, when I finally had Born 1990 in Nebraska. the chance to start work on it in late December 1987, I wrote the sketches In February of 2016, my piece Spark! for it in one week. After completing was premiered by the St. Louis Wind the piece, I realized why so many Symphony. I was floored by the composers have used the theme. First, quality of musicianship of the group. the harmonic progression is much more In the following months, Tom Poshak interesting that the tune itself, but and I started talks about writing a when put together, the melody and the concerto for solo French Horn and harmony are fantastic, and, secondly, it Wind Ensemble. As our discussions is impossible to get the tune out of your continued, another idea was proposed. mind. When working on it, I couldn’t Tom had suggested I write a piece that stop whistling the tune. I would wake would feature various groups in the up in the middle of the night and hurry ensemble throughout. I proposed the to write another variation. I rushed to idea of a concerto for wind ensemble

3 where the entire ensemble is treated My Brother’s Brain, a Symphony for Winds as the soloist. They were on board for Carter Pann it. The idea was this piece would be the Born February 21, 1972, in La Grange, Illinois. highlight of their 2017 18 season “One of our own,” where each concert would There is no one person on the planet feature someone from the group. The I resemble more closely in mind, soul, new work would be premiered in the and general Human rhythm than March 2018 concert as the culmination my younger brother Alex. This may of their 20th anniversary season. seem an obvious statement, but our The following November of 2016, I sat similarities have, over the years, come down and began writing. The first real to resonate with incredible gravity on material emerged late that month and my whole being. We do not reside in I had the first movement completed by the same area, I am not aware of his early January. I wanted to keep Tom day-to-day achievements and failures, updated on the progress, so I demoed his highs and lows are mostly lost to the first movement for him at the me these days. We keep in touch with a Missouri Music Educators Association somewhat waning regularity. Growing conference in January of 2017. I’ll never up together (5 years his senior) I was forget the big smile on his face as he a typical older brother, exercising my listened to the first movement and greater strength and cunning on a parts of the second movement. I knew kid who would inevitably grow up to I was on the right track. I finished the eclipse me with his sheer brainpower, second movement in mid-March. Now, and ultimately forgive my well-aimed came the all-important third movement. indiscretions. I look back on his mental For some reason, I could not settle feats often from our younger years and on what I wanted the movement to swell with silent pride that this person is be for weeks. I took a week o from my brother, that he is who I resemble in writing. That weeklong break did the a multitude of likenesses, and that I had trick. I finished the first rough draft of the privilege to grow in close parallel the movement on May 8th, 2017, and with him into our adulthoods. finished the principle composing on My Brother’s Brain, A Symphony for May 22nd, 2017. Winds is a triptych of sound paintings Concerto for Wind Ensemble is a three- describing the man as I remember him movement piece that follows concerto in our earlier years together. form (fast-slow-fastest). The piece is I. The Inventions — to my brother’s meant to be played attacca, meaning uncompromising craft all three movements are played without break in between. Concerto The opening movement is a childlike for Wind Ensemble is not meant look into the mind of a young inventor to be a programmatic piece. Each who created little tracks on pullies with movement has no name. It’s left up to fulcrums; who re-wired household the audience and the performers to appliances; a teenager who took entire interpret the message of the piece. automobiles apart and reassembled Robert Langenfeld them (sometimes interchangeably between other automobiles); and a young adult who worked with kilns and

4 torches to forge newer, more fuel- not uncommon to hear descriptions e§cient engines. In his twenties my of sporadic demonic hallucinations brother was, and remains to this day, coupled with apocalyptic foreboding the finest automobile mechanic I know. and dread. These episodes experienced II. Demonsphere — on my brother’s struggle by my brother were as real as day and watching him suer through Diabolical from beginning to end, this them weighed heavily on my heart. scherzo shares its capricious character To see such ups and downs suered with Scarbo from Ravel’s 3-movement (sometimes physically) by someone so piano work Gaspard de la Nuit. That close in spirit to one’s self was almost said, the spotlight is on the opening too much to bear. of Brahms’ First Symphony. Quoted verbatim and bloated to monstrous III. The Hymn of Forgiving — to my proportions, the Brahms serves as a brother’s unwavering empathy dark hallucination when the troubled The final movement (the longest of mind finally splits apart (evoked by his the set) celebrates Alex’s integrity and opening motive over the pedal-C), no compassion. It was not easy for him to longer functioning properly in the real grow up with an egocentric, success- world. More technically demanding craving older brother. Sitting backseat than the other two movements through much of our childhood he combined, Demonsphere is a tour de needed to grow a thick skin at a very force for large wind ensemble, asking early age. Ever considerate, congenial each of the 55 individual players to and giving by nature, my brother bring their sharpest minds and quickest arrived into his thirties with a seasoned wits to every passage on the page temperament and charisma to burn. at breakneck speed. This movement The Hymn of Forgiving is one brother’s explores the mental struggles my oering to the other, in gratitude of his brother suered mostly during his teen patient, undeniable, and superlative years and into his twenties. It was model character. Carter Pann

5 ARTIST BIOGRAPHIES Harlan D. Parker Conductor Harlan D. Parker has been the conductor of the Peabody Wind Ensemble and coordinator of the Music Education Department at the Peabody Conservatory since the fall of 1990. From 2007 to 2016, he served as the conductor of the Peabody Youth Orchestra. Under his direction, the Peabody Wind Ensemble (PWE) has given over 40 world premieres and has performed at state, regional, and national conventions. Considered “among the very top wind bands in the U.S.” (Fanfare), the PWE has received critical acclaim from contemporary composers such as David Amram, James Syler, Eric Ewazen, H. O. Reed, and Johan de Meij. Parker is also the music director and founding conductor of the Conservatory’s Peabody Modern Orchestra, which was founded in 2013. The PWE’s debut CD, From an Antique Land, has been praised as one of the most exciting wind ensemble recordings in recent times. The group also released four CDs on the Naxos label: Or, Bird, and Reed; Collage: A Celebration of the 150th Anniversary of the Peabody Institute: 1857–2007; Trendsetters; and Johan de Meij: The Symphonies. Parker has a very active musical life outside of the Conservatory. He is a past president of the Conductors Guild, an international service organization dedicated to encouraging and promoting the highest standards in the art and profession of conducting. Parker is also a member the American Bandmasters Association, an organization whose membership is by invitation and recognizes outstanding achievement in the ﬁeld of the concert band and its music. He is active regionally, nationally, and internationally as a guest conductor, conducting pedagogue, clinician, and adjudicator, having worked with professional musicians and students from all 50 states and over 40 countries. Parker received his Bachelor of Music from Emporia State University and his Master of Music and Doctor of Philosophy in music education, with an emphasis in conducting, from the University of Kansas. He has completed post-doctoral work at the Laban/Bartenie Institute of Movement Studies in New York.

6 PEABODY WIND ENSEMBLE Harlan D. Parker, conductor

Flute Horn Timpani Arastu Sharma * Marianna Cardon * Zachary Gutierrez Drew Dardis Layan Atieh Percussion Adam Eydelson Christopher Frick Colin Crandal Victor Hernandez Ramirez Bailey Myers Ben Giroux Kirkland Moranos Willow Otten Jacob Gutierrez Arastu Sharma Roger Wu Fu Zachary Gutierrez Hannah Silverberg Trumpet Yukiko Nakamura Oboe Jason Aylward * Sejeong Pyo Ellen Gruber * Val Castillo Yonatan Rozin Benjamin Goodly Chase Domke Harp Sophia Lou Herman Makosky Thea Kammerling * Man Hon Ambrose Tang Clarinet Jessica Sudarta Ryan Yacos Juho Chae * Keyboard Gemma Baek Trombone Jada Campbell Ilana Inselbuch Bailey Schmidt * In Soo Oh Nicolas Gonzalez Saxophone Ashna Pathan Jacob Niemann Daniel Kamon * Seunghyun Ryu Aaron Frederick Small Robert Brown Jonathan Mo Yu Wang Euphonium Yuyang Zi Tea Mottolese Jermaine Fryer * Havalynn Robertson Bassoon Zheyu Wu Jonathan Skobel Sean Webster * Tuba Brittney Delpey Double bass Kevin Freeman * Qiaoyang Han Chelsea Strayer * Cole Manel Brock Drevlow Assistant Conductor Abhinn Malhotra

* Principal

7 EDWARD POLOCHICK CONDUCTOR SYMONE HARCUM SOPRANO Sylvia L. Green Voice Competition Winner

Ludwig van Beethoven (1770–1827) Symphony No. 4 in B-ﬂat major, Op. 60 I. Adagio—Allegro vivace II. Adagio III. Allegro vivace

SINGERS IV. Allegro ma non troppo

INTERMISSION

PEABODY Samuel Barber (1910–1981) Knoxville: Summer of 1915

Symone Harcum, soprano

CHORUS John Rutter (b. 1945) Gloria I. Gloria in excelsis Deo II. Domine Deus III. Quoniam tu solus sanctus Miriam A. Friedberg Concert Hall Concert A. Friedberg Miriam

| PEABODY-HOPKINS 7:30 pm

The Peabody Institute dedicates this concert to the memory of Beth Green Pierce.

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

PEABODY 2018 5, December Wednesday, In case of emergency, walk, do not run to that exit. 8 PROGRAM NOTES Symphony No. 4 in B-flat major, Op. 60 The lightness of this symphony, Ludwig van Beethoven described by Robert Schumann as a Born December 16, 1770, in Bonn, Germany. “slender Greek maiden between two Died March 26, 1827, in Vienna, Austria. giants from the North,” is conspicuous between the monumental “Eroica” and This work was first performed in March of 1807, the majestic Fifth Symphony. Although at a private concert in the palace of Prince hardly a work of simple technical demands, Joseph Lobkowitz in Vienna. It is scored the symphony is more joyful and nimble for flute, two oboes, two clarinets, two than most of Beethoven’s works. bassoons, two horns, two trumpets, The first movement begins with a timpani, and strings. mysterious introduction, completely Although Ludwig van Beethoven was out of character as compared to rarely accused of being cheerful, the the rest of the work. The listener’s period during the composition of expectation of a dark and somber the Fourth Symphony, 1806 07, was symphony is thwarted when the playful among the least traumatic of his adult allegro vivace suddenly enters. The life. Beethoven spent the autumn of mood is among the sunniest in all of 1806 at the Czech estate of Prince Carl Beethoven. The development section Lichnowsky. During his visit, he made gradually envelops the orchestra in a the acquaintance of Count Franz von musical mist, as the character slowly Oppersdorf who was such a great lover turns more serious. As gradually as of music that he only hired servants it arrived, the fog dissipates as the who could play certain instruments. In recapitulation arrives. As with all of this way, he maintained a full orchestra the movements in this symphony, it at his Polish estate. concludes with a masterful coda. Oppersdorf commissioned Beethoven The adagio is a broad, singing to write two symphonies for his movement of sentimental melodies. ensemble. Since the composer was Hector Berlioz called it “angelic and of already hard at work on the piece irresistible tenderness.” The scherzo known today as the Fifth Symphony, frolics with melodies that jump around he decided to postpone its completion, the orchestra from one instrument so he could begin writing another and to another. The trio relies heavily on oer both at the same time. The Count woodwind instruments, often dividing paid a deposit and assumed that he them into small chamber groups within would be receiving two works. However, the orchestral textures. Beethoven after sending the Fourth Symphony repeats the scherzo and trio, as to Oppersdorf, Beethoven sold the he would do later in the Sixth and Fifth and Sixth Symphonies in 1808. Seventh Symphonies. The witty finale, In addition, the Count did not realize a la Haydn, is lighthearted fun from that the work he received had already beginning to end. Especially amusing been premiered at the home of Prince is the bassoon solo, just before the Lobkowitz, Beethoven’s patron, in recapitulation, in which the comic March of 1807. instrument seems to scurry back into the texture of the full orchestra as the new section begins.

9 Knoxville: Summer of 1915 On vacation with Menotti in 1938, the Samuel Barber two discussed visiting Toscanini at his Born March 9, 1910, in West Chester, Pennsylvania. island home in Lake Maggiore, but Died January 23, 1981, in New York, New York. Barber could not bring himself to visit the man who had refused his music. This work was premiered on April 9, 1948, Little did he realize that Toscanini had by the Boston Symphony Orchestra memorized both scores and would conducted by Serge Koussevitzky with premiere them on the same program Eleanor Steber as soloist. It is scored for before the year ended. Barber’s close solo voice, piccolo, flute, oboe, English association with Toscanini brought horn, clarinet, bassoon, two horns, him recognition as one of the leading trumpet, triangle, harp, and strings. young composers of his generation. Although he first came to the public’s After a stint in the U.S. Army Air attention in the 1930s, it was a period Corps during World War II, Barber of transition for Samuel Barber. He returned to his home in upstate spent the school year as a student New York. By this point, he was a at the Curtis Institute of Music respected composer and it seemed in Philadelphia, and summers in that everyone of consequence in the Cadegliano, Italy, with his partner and music world wanted to commission fellow composer, Gian Carlo Menotti. a new work. In 1946 47 Barber Summers there allowed Barber to composed Knoxville: Summer of 1915 escape the tensions of his studies for soprano Eleanor Steber, and the and a city that he felt was musically ballet Medea for Martha Graham. More confining. He spent a large portion of masterpieces followed over the next his time swimming, bicycling, shopping, decade, culminating in his Pulitzer playing tennis, and composing, which Prize-winning opera Vanessa in 1958. came much more readily to him when Barber’s other Pulitzer Prize came combined with leisure activities. in 1963 for his Piano Concerto. This With his career well underway, magnificent work is one of three due largely to Artur Rodzinski’s commissioned from Barber by performance of his Symphony No. 1 at Lincoln Center for the opening of its the 1937 Salzburg Festival, Barber tried various facilities — the others being to cement his reputation by finding Andromache’s Farewell for soprano notable conductors to introduce his and orchestra, which, like the Piano newest works. Arturo Toscanini, the Concerto, was composed for the esteemed maestro who had premiered opening of Philharmonic Hall; and the Puccini’s final operas, was in Salzburg opera Antony and Cleopatra, written during the Festival. Barber sent for the inaugural festivities of the new Toscanini the scores of his newest Metropolitan Opera House. Barber works, the first Essay for Orchestra was so unsatisfied with the opera (he would compose a second such that he sank into a deep depression, work in 1942 and a third in 1978) compounded by alcoholism, which and Adagio for Strings (Barber’s own threatened his future as a composer. arrangement of the slow movement It was his last major work. He died from his String Quartet), knowing in 1981 after a long illness. that a premiere under the baton of Knoxville: Summer of 1915 was the legendary conductor would bode inspired by a 1938 lyrical prose work of well for his career. Within six months, James Agee who grew up in Knoxville, Toscanini sent the scores back with Tennessee. Born in 1909, Agee had no explanation. Assuming that the a di§cult childhood. His father was maestro was not interested in the killed in an auto accident in 1916 and pieces, Barber begrudgingly began this early loss informed nearly all his a search for another conductor. 10 work, including his novel A Death in Gloria the Family. Knoxville: Summer of 1915 John Rutter looks back fondly on the days when Born September 24, 1945, in London, England. the family was together and happy. Barber was attracted to Agee’s work, This work was premiered in May of 1974 as West Chester, Pennsylvania, was not in Omaha, Nebraska, by the Mel Olson that dierent from Knoxville in 1915. Singers conducted by the composer. It He wrote, “It reminded me so much was originally scored for SATB Chorus, of summer evenings in West Chester, four horns, three trumpets, tuba, timpani, now very far away …” The work is a percussion, and organ. A later orchestration captured moment in time. It depicts expands the work for full orchestra by a lazy summer evening outside the adding woodwinds in pairs, 3 trombones, house. It remembers those priceless harp, and strings, instead of the organ. moments of family togetherness Choral music has always held a position where nothing is said or done, and of great importance in British music. the importance of which is never One would be hard pressed to name grasped at the time. Barber said: an English composer who has not “Agee’s poem was vivid and moved written in this expressive medium. John me deeply, and my musical Rutter, although also accomplished response that summer of 1947 in other genres, is one of the most was immediate and intense. I gifted living composers of choral think I must have composed music. He founded the Cambridge Knoxville within a few days.” Singers, who have performed and recorded many of his works. Barber used the second half of Agee’s text and made only few scant edits. His As Rutter’s career has taken him along setting is largely through-composed, a traditional path from choirboy to but the introduction and opening scholar, composer, and choirmaster, section repeat just before the final coda. so his music follows the traditions of those who have previously followed Barber’s music is reflective of the same path. In Rutter, one can hear the text. The rocking theme so Walton, Vaughn Williams, Britten, and prevalent in the work is no doubt the Stanford, but his music is uniquely rocking chair on the porch. Soprano Rutter. Of particular interest in his Leontyne Price, one of the best music is his attention to clarity of text, performers of the piece, stated: as expressed through melodies of “Everything I know about my roots surpassing beauty. Rhythmic activity is and about my mum and daddy also prominent, especially in his music and my hometown … it’s like a for choir and instrumental ensemble. painting, and I think he set it perfectly. You can hear the streetcar, Rutter’s Gloria is an early work, dating the horns, and everything, you from 1974 when he was a professor at can smell the strawberries.” the University of Southampton. In the original score, the composer explained: The overall atmosphere is one of relaxation and the wonder of twilight “Gloria was written as a concert through the eyes of a child. It is work. It was commissioned by dedicated to Barber’s father. the voices of Mel Olson, Omaha, Nebraska, and I directed the first performance on the occasion of ©2018 Orpheus Music Prose & Craig Doolin my first visit to the United States www.orpheusnotes.com in May 1974. The Latin text, drawn from the Ordinary of the Mass, is a centuries-old challenge to the See page 13 for sung text. composer: exalted, devotional

11 and jubilant by turns. My setting, Beginning with an improvisatory which is based mainly on one of organ introduction, the subdued and the Gregorian chants associated peaceful second movement gives way with the text, divides into three to the chorus, merely a whisper at movements roughly corresponding first, in a very careful manner. Building to traditional symphonic structure. eventually to a breathtaking climax The accompaniment is for brass on the words “suscipe deprecationem ensemble with timpani, percussion nostram” (“Receive our prayer”). The and organ — a combination chorus enters again, once more a which in the outer movements whisper, but this time does not build makes quite a joyful noise unto the Lord, but which is used to a climax. Instead, the text becomes more softly and introspectively fragmented and unfolds in disjointed in the middle movement.” groups of voices within the choir. As at the beginning, the improvisatory Rutter later rescored the organ rounds out the movement. accompaniment for the even more Boisterous and brassy, the finale joyful noise of full orchestra. is a syncopated hymn of praise, Cast in three movements, the text is featuring prominent percussion parts. the traditional Gloria section from the Reminiscent of the first movement ordinary of the Roman Catholic Mass. in its rhythmic qualities, the middle Opening with a regal outburst, section applies this inherent excitement complete with lively syncopations in to a fugal technique. Suddenly, the the orchestra, the short introduction tempo broadens, and the full forces gives way to a jubilant choral entry. A repeat the opening text from the first legato section follows on the words movement. Fortissimo syncopations “Et in terra pax...” (“And on earth propel the work to an unfettered close. peace …”) with the chorus singing conjunct lines as the accompaniment ©2018 Orpheus Music Prose & Craig Doolin recalls the repeated rhythms of the www.orpheusnotes.com opening. Intensity builds as hints of the introductory material appear See page 14 for sung text. layered one atop the other. A short syncopation ends the movement.

12 TEXTS & TRANSLATIONS Knoxville: Summer of 1915 Samuel Barber It has become that time of evening when people sit on their porches, rocking gently and talking gently and watching the street and the standing up into their sphere of possession of the trees, of birds hung havens, hangars. People go by; things go by. A horse, drawing a buggy, breaking his hollow iron music on the asphalt; a loud auto; a quiet auto; people in pairs, not in a hurry, scu±ing, switching their weight of aestival body, talking casually, the taste hovering over them of vanilla, strawberry, pasteboard and starched milk, the image upon them of lovers and horsemen, squared with clowns in hueless amber. A street car raising its iron moan; stopping, belling and starting; stertorous; rousing and raising again its iron increasing moan and swimming its gold windows and straw seats on past and past and past, the bleak spark crackling and cursing above it like a small malignant spirit set to dog its tracks; the iron whine rises on rising speed; still risen, faints; halts, the faint stinging bell; rises again, still fainter, fainting, lifting, lifts, faints forgone: forgotten. Now is the night one blue dew. Now is the night one blue dew, my father has drained, he has coiled the hose. Low on the length of lawns, a frailing of ﬁre who breathes. Parents on porches: rock and rock: From damp strings morning glories: hang their ancient faces. The dry and exalted noise of the locusts from all the air at once enchants my eardrums. On the rough wet grass of the back yard my father and mother have spread quilts. We all lie there, my mother, my father, my uncle, my aunt, and I too am lying there. They are not talking much, and the talk is quiet, of nothing in particular, of nothing at all in particular, of nothing at all. The stars are wide and alive, they seem each like a smile of great sweetness, and they seem very near. All my people are larger bodies than mine, with voices gentle and meaningless like the voices of sleeping birds. One is an artist, he is living at home. One is a musician, she is living at home. One is my mother who is good to me. One is my father who is good to me. By some chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night. May god bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away. After a little I am taken in and put to bed. Sleep, soft smiling, draws me unto her: and those receive me, who quietly treat me, as one familiar and well-beloved in that home: but will not, oh, will not, not now, not ever; but will not ever tell me who I am.

13 Gloria John Rutter

I. Gloria in excelsis Deo. Glory to God in the highest. Et in terra pax hominibus bonae voluntatis. And on earth peace to men of good will. Laudamus te. We praise Thee. Benedicimus te. We bless Thee. Adoramus te. We worship Thee. Gloriﬁcamus te. We glorify Thee. Gratiam agimus tibi propter magnam We give Thee thanks for gloriam tuam. Thy great glory.

II. Domine Deus, Rex coelestis, O Lord God, heavenly King, Deus Pater omnipotens. God the Father almighty. Domine Fili unigenite, Jesu Christe. Lord Jesus Christ, the Only-begotten Son. Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father Qui tollis peccata mundi, Who takest away the sins of the world, miserere nobis. have mercy on us. Qui tollis peccata mundi, suscipe Who takest away the sins of the world, deprecationem nostram. receive our prayer. Qui sedes ad dexteram Patris, Who sittest at the right hand of the Father, miserere nobis. have mercy on us.

III. Quoniam tu solus Sanctus. For Thou alone art holy; Tu solus Dominus. Thou alone art Lord; To solus Altissimus, Jesu Christe. Thou alone art most high, O Jesus Christ, Cum Sancto Spiritu in together with the Holy Ghost, in the gloria Dei Patris. Glory of God the Father. Amen. Amen.

14 ARTIST BIOGRAPHIES Edward Polochick Conductor

Edward Polochick is the associate conductor of the Peabody orchestras, director of choral ensembles, and opera conductor at the Peabody Conservatory, where he has been a member of the faculty since 1979. Up through the 2017 18 season, he has also served as the artistic director of Concert Artists of Baltimore, which he founded in 1987, and this season marks his 21st as music director of the Lincoln Symphony Orchestra in Nebraska. An accomplished pianist and harpsichordist, he has appeared as piano soloist with the Philadelphia Orchestra and the Los Angeles Chamber Orchestra with Sir Neville Marriner conducting. Since winning the coveted Leopold Stokowski Conducting Award and, as a result, conducting the Philadelphia Orchestra, Polochick has attracted widespread attention as an orchestral, operatic, and choral conductor. During the summer of 1987, he was conductor of Musicisti Americani, a chamber orchestra festival in Sulmona, Italy. In November of that year, he conducted the Peabody Orchestra in concerts of American music in Moscow and received an ASCAP award for adventuresome programming of American music. His conducting appearances have included performances with the Baltimore Symphony Orchestra, Houston Symphony Orchestra, Chautauqua Symphony, the Opera Company of Philadelphia, Northeastern Pennsylvania Philharmonic, the Aalborg Symphony of Denmark, Omaha Symphony Orchestra, Tuscaloosa Symphony, Abilene Texas Philharmonic, Charleston Symphony Orchestra, and Jacksonville Symphony Orchestra. Polochick resides in Baltimore, where, in addition to his busy schedule with the Peabody Conservatory, and regular guest conducting with the Baltimore Symphony, he is often asked to share his wealth of knowledge and love of music at various lecture series, adjudications, and radio broadcasts. He is the proud recipient of the Peggy and Yale Gordon Achievement Award and in May of 2000 was made an honorary member of the Baltimore Music Club. In the spring of 2002, he was selected as the ﬁrst Peabody alumnus to receive the Johns Hopkins University Distinguished Alumnus Award.

15 ARTIST BIOGRAPHIES Symone Harcum Soprano

Soprano Symone Harcum is the 2018 ﬁrst place winner of the NSAL-DC Dorothy Lincoln-Smith Voice Competition and the Sylvia Green Voice Competition. In 2018 she performed the role of Bea in Opera Maine’s production of Three Decembers. In the spring, Harcum performed the role of Krystyna Zywulska in Out of Darkness: Two Remain under the direction of the composer Jake Heggie and librettist Gene Scheer. Her other roles include Gertrude (the mother) in Humperdinck’s Hansel und Gretel with the Peabody Opera Theatre and La Ciesca in Gianni Schicchi with Tidewater Opera. Her cover roles include Countess Almaviva in Le Nozze di Figaro with the Peabody Opera Theatre and Second Lady in The Magic Flute with Virginia Opera. After receiving her bachelor’s degree in music education from Norfolk State University in 2012, she performed regularly in the Virginia Opera chorus and was the choral director of Runer Academy Middle School of Norfolk Public Schools until 2016. Harcum recently received her Master of Music degree from the Peabody Conservatory and studies in the studio of Denyce Graves and Margaret Baroody.

16 PEABODY CHAMBER ORCHESTRA Joseph Young, Ruth Blaustein Rosenberg Artistic Director of Ensembles Edward Polochick, conductor

Violin Cello Horn Orest Smovzh † Soyoon Park * Scott Ullman * Shannon Fitzhenry * Alexander Cousins Scott Campbell Yangying Chen Ismael Guerrero Trumpet Cathy Chiu Jerram John Sabrina Johnson * Tavifa Cojocari Marcie Kolacki David Sayers Jerry Hou Nick Pascucci Ryan Vance Mu-Ning Huang Ethan Sandman Edmond Wang Ji-Seong Kim Kahler Suzuki Jesse Su Yiyang Xue Trombone Sarah Lewandowski * William Wang Double bass Kimberlyn Wu Jahi Alexander Samuel Dugo * Pei-Yin Wu Nicholas Bulgarino Andrew Butts Mei Zhan Patrick Raynard Tuba Viola Jianze Zhang Samuel Adam Lan Zhang * Flute Timpani Carrie Jones Yerim Choi * Colin Crandal * Mark Liu Christian Paquette Ben Giroux Hyunjung Song Ting An Wei Oboe Percussion Yang Yang Amy Han * Colin Crandal Sonia Matheus Yonatan Rozin Amelia Wingard Harp Clarinet Esther Chung Jay Shankar * Organ Chad Thomas TianYuan Liu Bassoon Assistant Conductor Xinqi Dong * Edison Piza Mateen Milan

* Principal † Concertmaster

17 PEABODY-HOPKINS CHORUS PEABODY SINGERS Edward Polochick, director Edward Polochick, director Tianyuan Liu, rehearsal and performance pianist Tianyuan Liu, rehearsal and performance pianist Edson Piza, graduate conducting assistant Edson Piza, graduate conducting assistant

Soprano Tenor Soprano Alana Barry Falcom Greear Samantha Albstein Alayna Borden Kaijeh Johnson Marcella Astore Siying Chen Anthony Peña Marina Bien-Aimé Nancy Fallon Ruben Portillo Sophia Cinquemani Margaux Frohlich Jonathan Rush Jasmine Galante Grace George Bass Savannah McElhaney Hyunjoo Kang Alexis Modica Liam Ashwill Tianrun Long Melody Multra Dante Baskett Mackenzie Payne Maddalena Ohrbach Ian Blanchardon Kayla Raschke Emma Rocheleau Andrew Bohman Zoe Sheller Gracie Shortridge Parker Callister Zoe Woodaman Haoyuan Chen Alto Isabella Xie Jun An Chew Tess Clark Alto Hongtai Chi Marie Herrington Yamin Chen Botao Feng Rung-Jiuan Huang Yuan Gu Alex Hagopian Seo Yoon Kim Heidi Hansen Scott Li Caroline Lacy Emma Hils Sean McFarland Lauren Redditt Kelly Hur Joseph Miller Ginny Wang Sally Hyun James Qian Lauren Yoon Jennifer Kim Pedro Rivera Tenor Serena Miller Elijah Smith Bhaskar Balaji Zishan Ming Won Ik Suh Jasper Cox Doyoung Park Joe Tollefsen Daniel Despins Rhonda Robinson Yongdai Yan Jeremy Earnest Eureem Shin Robert Ge Elisa Sikula Mofan Lai Lingjun Song Nathaniel Parks Kathy Walsh Daveen Rim Wei-Chia Wu Haoyue Xu Bass Alexandria Zallo Philip Barsky Yunsi Zhang Henry Dorn Frank Durgin CJ Hartung Shaul Leket-Mor Cody McVey Kevin Paton-Cole

18 UPCOMING EVENTS

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

DANCE PREVIEW FAMILY WEEKEND Friday, December 7 7:30 pm

Saturday, December 8 7:30 pm PEABODY RENAISSANCE ENSEMBLE Sunday, December 9 5:00 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! 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. 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.