JOHNS HOPKINS UNIVERSITY
CAN THE CONCERT HALL BE
Conducting’s Changing Face AND
FALL 2016 VOL. 11 NO. 1
images: Renee FischeR
Helping a Hopkins HERO
Treating a minor injury. Or giving life-saving care. When Krieger School public health and pre-med major Connor Steele-McCutchen responds to his fellow students’ calls for medical assistance through the Hopkins Emergency Response Organization (HERO), he needs to be ready for anything. Backing him up is the Stuart and Ellen Katchis family. Their scholarship enables Steele-McCutchen to attend Hopkins and get the education and experience he needs, now as a HERO volunteer, and one day as a physician with an international aid organization. “I did not have a lot of financial resources,” he says. “The Katchis Family Scholarship — it’s been a game-changer. I’m eternally grateful.”
Together, there’s more we can do to help great students like Connor Steele-McCutchen obtain a Hopkins education. Watch his video at and join us in Rising to the Challenge.
Visionary Voices The Dean’s Symposium Series is bringing to campus four of the most innovative thinkers in the world of music.
Can the Concert Hall Be Reimagined? by Richard Byrne
Connecting with Young Audiences Headliners Online Offerings Take Root A Fruitful Summer for Tuned-In Students Gray Heads Preparatory Voice Department Commencement 2016: Celebrating Excellence and Connectivity Distinguished Visiting Artists In Memoriam: Remembering Gustav Meier In Memoriam: Frances D.H. Prochazka New Faculty Faces Junior Bach Celebrates 10th Anniversary Bahl Steps Up to PYO Podium Veteran Fundraiser Tapped to Head External Relations 16
Class Notes Doing the ‘Cello-Actress Thing’ … and More In Memory of Gregg Smith Heart, Soul — and Adaptability
by Linell Smith
New initiatives aim to expand the pipeline to the podium for more women and people of color.
Gift to Build Diversity A Life of Music A Defining Experience
Architects, designers, and artists are capitalizing on creative ideas and technologies to “break the box” in attracting new audiences.
Conducting’s Changing Face
Cover illustration by Michael Woloschinow ABOUT THE PEABODY INSTITUTE OF THE JOHNS HOPKINS UNIVERSITY Located in the heart of Baltimore’s Mount Vernon Cultural District, the Peabody Institute was founded in 1857 as “the first major intellectual and arts center in an American city” by philanthropist George Peabody. Now a division of Johns Hopkins University, the Peabody Institute trains musicians and dancers of every age and at every level, stages nearly 1,000 concerts and events each year, and extends music and musical training throughout the community. Building on its rich history of professional music training at the highest level and focused on the four pillars of excellence, interdisciplinary experiences, innovation, and community connectivity, Peabody is taking on the challenge of what it means to prepare artists for a world that is constantly changing yet still deeply in need of what music brings to the human experience.
FROM THE DEAN
Dean Fred Bronstein
Peabody Friends, With the beginning of this fall semester, I was pleased to welcome to campus a new entering class selected from among the largest group of auditioning applicants in the last five years. The increases we are seeing in both the number and the level of students interested in attending Peabody are promising indicators that our work under the Breakthrough Plan to re-energize and reposition the Peabody Institute is beginning to bear fruit. The foundation we have laid over the past two years — with our focus on excellence, innovation, interdisciplinary experiences, and community connectivity — means that Peabody is now building on its remarkable history toward an even stronger, sustainable, and vibrant model for the future.
The signs of our progress are plentiful and include the completion this past summer of the first phase of renovations and acoustical improvements — including a newly expanded stage — in the 150-yearold Miriam A. Friedberg Concert Hall. We look forward to celebrating this auspicious anniversary with a special October 28 concert of the Peabody Symphony Orchestra led by Marin Alsop. And that’s just one of many exciting events slated for the 2016–17 concert season at Peabody, during which a roster of conducting luminaries — including Maestra Alsop, Leonard Slatkin, and Leon Fleisher — will take the podium. What’s more, beginning this year, all concerts at Peabody are free. As we seek to engage our students and faculty more deeply in our community, we look forward to welcoming more of the community to campus as our guests. We’re also thrilled to welcome world-renowned violinist Midori and bass-baritone Eric Owens, prominent on major opera stages across the world today, as distinguished visiting artists this year. Both will visit campus multiple times to work with our students and deliver master classes.
We are also seeing the culmination of our first major-label recording project with the release of a Naxos CD of music by faculty composer Kevin Puts, recorded last fall by Maestra Alsop and the Peabody Symphony Orchestra. It’s available now on Amazon.com, and recording is under way this semester for a second CD with Naxos. Finally, one of the things high on my list is a deeper and more intentional effort to leverage a strong Peabody alumni network, and to involve alumni more in the life of our school today. We’ve started with the participation of alumni on several task forces, through surveys that are helping us remake the curriculum to reflect the world our students will enter, and through ongoing communications with Peabody alumni. But I hope we can do more. I look forward to visits with our alumni over the next few years to meet more of you, and to look for ways to tap your expertise and passion for Peabody to the benefit of students today, soon to join our many alumni in the professional world.
These are just some of the many exciting initiatives beginning to come to fruition this fall, thanks to the hard work and dedication of our talented faculty, staff, stuAt the same time, the task forces workdents, volunteer leaders, and active alumni. ing on incorporating 21st-century skills Many more are highlighted throughout the directly into our curriculum as well as pages of this issue of Peabody Magazine. I reimagining the ensembles experience here at Peabody are continuing their work hope you’ll keep reading and send us your in earnest, with a plan to finalize all details comments and thoughts. by December and begin planning impleSincerely, mentation of the new curriculum and initiatives for next fall.
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PEABODY FALL 2016
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Peabody Opera Theatre’s Papageno! is a shortened, kid-friendly show based on Mozart’s The Magic Flute, performed by Conservatory voice students for local schoolchildren, through a new partnership with Young Audiences/Arts for Learning Maryland.
Connecting with Young Audiences A new partnership launched this fall aims to expand Peabody’s institutional commitment to its neighbors in Baltimore and across the state, while at the same time providing some Conservatory students and Preparatory faculty an opportunity for extensive professional development as teaching artists. By partnering with Young Audiences/Arts for Learning Maryland, Peabody is also supporting that organization’s mission of transforming the lives and education of our youth through the arts. For Sarah Hoover (DMA ’08, Voice), special assistant to the dean for innovation, interdisciplinary partnerships, and community initiatives, it seemed only natural for Peabody to connect with Young Audiences. “Here is this amazing organization, part of the nation’s largest arts education network, bringing music and the arts to every school district in Maryland, and actively seeking artists to serve that mission,” she says. “And here we are at Peabody, a community of artists actively seeking opportunities
to connect with the community. It’s a perfect fit, and there is so much potential in working together.”
“Here is this amazing organization, part of the nation’s largest arts education network, bringing music and the arts to every school district in Maryland, and actively seeking artists to serve that mission." — Sarah Hoover (DMA ’08, Voice) Each year, Young Audiences connects educators, artists, and communities by facilitating the delivery of educational and culturally diverse arts programs — ranging from interactive live performances to long-term, classroom-based residencies — to schools statewide, reaching more than 175,000 students from pre-K to grade 12. The organization works with a roster of more than 100
teaching artists and groups to deliver these programs. Through the partnership with Peabody, Young Audiences addresses a need to add classical musicians to its roster, which this year will include two new groups with ties to Peabody: • Marquee Brass, a quintet of Peabody brass students working with faculty artist Joe Burgstaller • Peabody Opera Theatre’s Opera Outreach program, performing its family-friendly Papageno! program Stacie Sanders Evans, executive director of Young Audiences/Arts for Learning, says: “Young Audiences was founded in Baltimore with the sole purpose of introducing children to classical music by professional musicians, and Peabody provided Young Audiences both office space and guidance in its formative years. This new partnership helps Young Audiences reconnect to our roots. We see it as just the tip of the iceberg when it comes to what our two institutions can do together.” —— Tiffany Lundquist PEABODY FALL 2016
Peabody faculty member Kevin Puts is featured on a new recording by the Peabody Symphony Orchestra and Marin Alsop, music director of the Baltimore Symphony Orchestra and director of Peabody's graduate conducting program.
Master’s student HYUN JUNG KIM won first prize in the sixth Sendai International Piano Competition in Japan. She won a cash prize worth $30,000, will appear in various recitals and orchestra engagements, and will release her debut CD as part of the competition. In the final round, Ms. Kim performed Mozart’s Piano Concerto in F major, K. 459 and Brahms’ Piano Concerto No. 1 in D minor, Op. 15. Ms. Kim is currently studying with Yong Hi Moon.
Watch the final round of the Sendai International Piano Competition: goo.gl/cDpfyE
(BM ’08, MM ’10, Guitar), who studied with Manuel Barrueco, is the winner of the 2016 Respighi Prize, an international competition for composers and soloists. The award includes a performance as featured soloist with the Chamber Orchestra of New York in the 2017–18 season “Masterwork Series” at Carnegie Hall, as well as a recording of the concert.
PEABODY FALL 2016
DMA student MENGSHENG SHEN, a student of Boris Slutsky, took first prize in the Advanced Category of the 2016 San Jose International Piano Competition. He also won two special prizes: the Audience Prize and Best Performance of a Beethoven Sonata. The award includes $5,000, the gold medal, and performance opportunities.
A new CD on the NAXOS label featuring the music of Pulitzer Prize– winning composer and Peabody Conservatory faculty member KEVIN PUTS recorded by the Peabody Symphony Orchestra and conductor Marin Alsop, music director of the Baltimore Symphony Orchestra and director of Peabody’s graduate conducting program, was released in August. The disc includes Dr. Puts’ Symphony No. 2 and his Flute Concerto, featuring the London Symphony Orchestra’s celebrated principal flutist, Adam Walker. This marks the first major-label release for the Peabody Symphony Orchestra. The recording entered the Billboard charts at No. 3 for Traditional Classical Albums and at No. 20 for overall Classical Albums, including crossover CDs.
Composition faculty member SEAN SHEPHERD was awarded an Arts and Letters Award in Music, with a prize of $10,000 and an additional $10,000 toward the recording of one work. Four awards are given annually to composers; faculty composer Kevin Puts received the award last year. Thomas Kotcheff (BM ’10, Piano) and Scott Lee (MM ’13, Composition) were awarded Charles Ives Awards scholarships of $7,500 each by the American Academy of Arts and Letters.
Online Offerings Take Root The Peabody Institute is embarking on an innovative program of online teaching with a new music theory review course at the Conservatory for incoming graduate students, a new and improved jazz fundamentals class, and a series of pilot programs at the Preparatory to study and enhance long-distance, one-on-one music lessons. “The Jazz Department pioneered online teaching at Peabody with a jazz fundamentals course it launched in 2008 and ambitiously upgraded last year,” says Sarah Hoover (DMA ’08, Voice), special assistant to the dean for innovation, interdisciplinary partnerships, and community initiatives. “It has also been teaching Jazz Improvisation I and II as ‘blended’ classes, with both online and in-classroom components, for the past eight years. Our Preparatory team has had an online music theory class for four years and has piloted online lessons. But we just went live with the graduate theory review class, which will be the first in a suite of courses to help prepare students to be successful applicants for graduate or undergraduate study in U.S. conservatories. Future additions to the suite will include English as a second language, remedial music history, and ear training. We’re also building an occupational health course, Anatomy for Musicians.” Dr. Hoover says the immediate plan is to serve incoming Conservatory students, “but we are moving toward serving a wider population, both in the Preparatory and beyond. There is currently no online programming in classical music that spans the gap between high school and conservatory, gathering all of the necessary skills training in one place under one reputable brand, and this is a space Peabody hopes to occupy.” Steve Stone, a longtime member of the Conservatory faculty who is teaching the music theory review course, was a bit of a skeptic at first. “There’s something about in-person
classroom interaction, being able to see students’ faces, what they’re getting and not getting,” he says. “And sometimes with new technology, we get carried away — this is neat, but does it help? So we kept it focused on the student experience. How do you keep the good parts, even if you can’t make it the same?”
Dr. Stone’s new course allows incoming graduate students to study over the summer, from wherever they happen to be, for a placement exam they take during orientation, and he is so pleased with the experience that he is considering incorporating it into his regular classes. “Now that I have the lectures made, I can use them in both online and on-campus classes,” he says. “I’d like to try having students watch them before class so we can use the classroom more as a workshop.” Gary Thomas, the Richard and Elizabeth Case Chair in Jazz Studies, says that he and his then-teaching assistant (now academic coordinator for the jazz program), Ian Sims (ENGR BS ’08, Electrical Engineering; BM ’08, MM ’10, Jazz Saxophone; MA ’10, Audio Sciences), started researching online teaching in 2006. Mr. Thomas wanted to find a way to both lighten his own teaching load — he was performing a lot and building the department, constantly adding new classes and lessons — and make his jazz fundamentals class more accessible to students with scheduling challenges. “The original was just a theory course. Then, when Dean Bronstein came in and said he really wanted to
delve into online teaching, we decided to launch a more ambitious version — ear training, jazz improvisation, performance,” says Mr. Thomas. Working day and night with graduate assistant Jonathan Guo (BM ’13, GPD ’16, Jazz Bass), Mr. Thomas built the course as he was teaching it during the 2015–16 academic year. “It works well for really serious students,” he says. “You do have to keep on top of students who don’t do their assignments and fall behind. But I noticed that the students who got through it, when they played their juries, sounded better and more informed, their playing more sophisticated, than students in previous years.” Zane Forshee (MM ’01, GPD ’03, DMA ’11, Guitar), who chairs the Guitar Department at the Peabody Preparatory and has participated in two six-week pilot programs giving lessons online, says students seem pleased “because it uses a piece of technology that’s so relevant and necessary in their lives.” There are still limitations — not being able to immediately correct a student’s posture, not being able to play together. But, he says, “it feels as if this instrument I play, with its long history, is somehow modernized by the process.” Gavin Farrell (MM ’99, Percussion; MM ’01, Theory), executive director of the Peabody Preparatory, says feedback from the pilot programs is “helpful to us and our IT folks in just tweaking the system. It’s going to be a process to bring our faculty on board and get students and families comfortable, but teachers have been doing this unofficially for quite some time. It’s a great way to keep up with our students over the summer or when their teachers are performing in Europe. And when there’s a blizzard, I can’t tell you how many lessons get made up on Skype. With technology changing so rapidly, it’s exciting to dream about what we might eventually be able to do.” —— Joan Katherine Cramer
PEABODY FALL 2016
A Fruitful Summer for Tuned-In Students More than a dozen Tuned-In students won scholarships to prestigious music camps this summer — all-expenses-paid opportunities to play with their peers from all over the country at the Aspen Music Festival and Bard College, and full and partial scholarships to attend the elite summer music program at the Interlochen Center for the Arts. “We’re creating an accessibility to music in Baltimore City that hasn’t been seen in a long time,” says Dan Trahey (BM ’00, Tuba, Music Education), co-creator and director of Tuned-In — which offers full Peabody Preparatory scholarships, including weekly private lessons, ensembles, mentoring, and opportunities to attend musical events to talented Baltimore City public school students. Two-thirds of city public schools offer no music education, and nonprofit arts organizations don’t have a lot of money to spare on “hyperspecific summer learning,” Mr. Trahey says. “But there are now many organizations in town, including three major music education centers — the Peabody Preparatory, the Baltimore Symphony Orchestra, and the Baltimore School for the Arts — serving the very same kids. We couldn’t do it alone, but together we’ve created this magical support structure for kids in Baltimore City.” Gavin Farrell (MM ’99, Percussion; MM ’01, Theory), executive director of the Peabody Preparatory, calls summer camp a “rite of passage for American youth.” He says: “A lot of our kids wouldn’t ordinarily be able to do anything of this magnitude. The Take a Stand Festival, a national event for kids from programs like Tuned-In, held this summer at Aspen
PEABODY FALL 2016
Tuned-in students pictured above participated in summer programs: Front row (l to r): Lowrider James, Devron Dennis Second row: Keith Fleming, Tuned-In Director Dan Trahey, Asia Palmer, Jonah Lassiter Back row: Keyona Carrington, Janai Charles
and Bard, was created with the idea that everything is free [for student participants], even travel. And we’ve had incredible support from Interlochen, the BSO, the Baltimore City Public Schools system, and Southwest Airlines, which all worked together to make this possible.” “It’s extremely competitive,” Mr. Trahey says, “especially Interlochen. They’re up against kids from all over the world, not to mention kids who’ve been home-schooled or attend schools in elite districts and have lessons several times a week, and all the time in the world to practice. We
don’t make excuses about where our kids are from. They have to audition and play at exactly the same level in order to succeed.” Jonah Lassiter, 16, has been playing the flute since he was in second grade and says he practices three or four hours a day. “I love the sound and the technique of it, and I just always want to get better,” he says. “Going to all of these places, I’ve met people from all over. Now I focus harder and look at other people and think, ‘How can I help you?’” Eli Wirth (BM ’99, Tuba; MM ’02, Music Education), associate director of Tuned-In, says Jonah is one of the reasons he is so proud of the program. “He has 10 brothers and sisters, and an older sister has three children, all growing up in a three-bedroom home in West Baltimore. He overcame a lot to become a good-enough flute player to get into one of the city’s best high schools, the Baltimore School of the Arts. He is now one of our mentors, one of our leaders, and is thinking about college, which is not something most of his peers are doing.” Mr. Trahey says the camps can be a culture shock, especially Interlochen, which is in the woods and tends to attract economically privileged students. “Our kids are not used to bugs, and they’re used to different night noises, the natural sounds of the city. But they are so proud to be from Baltimore City. They see how much diversity they have, people and food and culture, that doesn’t exist in some places — and the quality of their music is so high. By the end of the summer, they’re best friends with [other kids from all over the country]. “So they love going away,” says Mr. Trahey, “but they also love coming home, which is exactly what we want — for them to be the next generation of teachers and leaders in Baltimore.” —— Joan Cramer
Gray Heads Preparatory Voice Department “I wish such a robust voice program had been available to me as a young singer!” says Madeleine Gray, as she pores over her list of new ideas and initiatives as incoming chair of the Preparatory Voice Department. The mezzo-soprano comes with a rich background of performance experience ranging from singing The Witch in Hansel and Gretel to her critically acclaimed performances with the Washington National Opera as Mama Lucia in Cavalleria Rusticana. “As an active performer and experienced pedagogue, Madeleine has an ideal skill set to broaden our curriculum and raise the stature of voice program,” says Preparatory Executive Director Gavin Farrell (MM ’99, Percussion; MM ’01, Theory). “As we expand our offerings online and
in Howard County, growth in the department will be key to ensuring our success in these areas.” Ms. Gray will be joining a burgeoning Voice Department, with two successful
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summer programs and a number of talented young singers. One of her new pilot programs is Chorus+, a program that will give members of the Children’s Chorus Cantate a chance to sample private voice lessons. Ms. Gray is also developing workshops for acting and audition techniques for singers. “There are a lot of talented young singers in the area, young people who really want to sing and sing well,” says Ms. Gray. “Peabody Preparatory is well-positioned to provide them with training and facilities that aren’t really available anywhere else. I’m excited to build on the excellent work already being done by the voice faculty and want to give students more opportunities to put their vocal skills into practice wherever they’re singing and performing.” —— Carin Morrell
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Love & Destiny: From Brahms to Edgar Allan Poe
Christmas for Kids
Tonal adjustments & Appraisals
Featuring composer Jonathan Leshnoff’s Dark Bells, inspired by Edgar Allan Poe.
Holiday fun for the entire family, featuring Pepito the Clown and a visit from Santa!
Christmas with Choral Arts
Tom Hall’s Farewell Concert
Tom Hall leads the Chorus and Orchestra in this popular annual holiday program.
Join us as we celebrate Tom Hall and his 35 years as Music Director. Featuring Haydn’s Lord Nelson Mass, Copland’s Walls of Zion, Lauridsen’s Sure on This Shining Night, and more.
Sunday, October 30, 2016 at 3 pm Kraushaar Auditorium at Goucher College
Tuesday, December 6, 2016 at 7:30 pm The Baltimore Basilica, 409 Cathedral Street
Friday, December 16, 2016 at 7:30 pm Kraushaar Auditorium at Goucher College
Join in singing the great choruses of Handel’s Messiah. Bring your own score or buy it at the concert.
Saturday, December 17, 2016 at 11 am Kraushaar Auditorium at Goucher College
Saturday, March 11, 2017 at 8 pm Kraushaar Auditorium at Goucher College
Call 410-523-7070 or visit BCAsings.org Baltimore Choral Arts is also grateful for the support of The William G. Baker, Jr. Memorial Fund, creator of the Baker Artist Awards, www.bakerartistawards.org.
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PEABODY FALL 2016
Commencement 2016: Celebrating Excellence and Connectivity
Pianist, professor, and conductor Awadagin Pratt (PC ’89, Piano; PC ’89, Violin; GPD ’92, Conducting) was the featured speaker at Peabody’s commencement ceremony on May 18. Mr. Pratt has been honored with both the 2008 Johns Hopkins University Alumni Association Distinguished Alumnus Award and the 1995 Peabody Conservatory Young Maestro Award, and remains actively involved at Peabody as a member of the recently formed Peabody Diversity Pathway Task Force. In his speech, he touched on many of the tenets guiding Peabody today — navigating a changing musical world, being an innovator, and giving back to the community. He said, “I ask you, the Peabody class of 2016, to be your absolute best, however it is that you define it; to have all the conviction in your ideas; and to execute, full of passionate intensity.” He ended his remarks by telling the graduates to love their family and friends, stay in touch with their teachers, be a great colleague to their peers, and to consistently reach out “to those who do not have the opportunities that you have had.” This year, the Four Pillar Awards were introduced and presented during commencement as a way to celebrate those who have exemplified Peabody’s vision and served as leaders in the areas of excellence, interdisciplinary experiences, innovation, and community connectivity. Dean Fred Bronstein presented the first of the new Four Pillars Awards for Community Connectivity to the Baltimore Symphony Orchestra, and it was accepted by Paul Meecham, the outgoing president of the BSO. The BSO was recognized for its OrchKids
PEABODY FALL 2016
program, which has touched thousands of young lives since its founding in 2008. The George Peabody Medal for Outstanding Contributions to Music in America — now also honoring the pillar of Excellence — was given in absentia to cellist Yo-Yo Ma, a member of the Peabody Distinguished Artist Council. Mr. Ma later received the medal when he was in town to perform as part of the BSO’s centennial celebration. In his remarks read at commencement, Mr. Ma wrote: “I believe a great education — and great artistry — goes beyond the development of skills. It balances knowledge with empathy and imagination, it helps us to connect with each other, and it prepares us to engage with the most important challenges in our 21st-century world. At Peabody, your renewed commitments to performance, to cultural understanding, and to community engagement are enabling the institute, its faculty, and its students to chart a path to a future where art is at the center of society.”
Yo-Yo Ma and Peabody Dean Fred Bronstein
Music theory faculty member and faculty adviser to Peabody’s newest contemporary ensemble, Now Hear This, David Smooke (MM ’95, Composition) was presented with the Johns Hopkins University Alumni Association Excellence in Teaching Award. Co-presenting the award with Johns Hopkins University Alumni Association President Jay L. Lenrow (KSAS BA ’73, International Studies), Abra Bush, senior associate dean of institute studies, said of Dr. Smooke: “Today we honor you for inspiring, challenging, and developing your students through your creative and engaging teaching and your tireless example of generosity, enthusiasm, and
love of music. Described as a natural teacher — charismatic and compassionate — you create an open and inviting education environment that nourishes students intellectually, helps them grow musically, and connects them to the wider world of current events and contemporary society."
David Smooke, JHU Alumni President Jay Lenrow, and Peabody Senior Associate Dean Abra Bush
In an acceptance speech that mentioned Schubert, Dungeons and Dragons, and Venn diagrams, Dr. Smooke, wearing his signature Converse shoes, said: “The more that you seek to know the world around you, the better you will understand yourself and your unique place within this world. As the musical landscape shifts, your curiosity will allow you to navigate across unfamiliar terrain. Where others only see obstacles, curiosity will illuminate new and unique paths.” Performances at graduation included Sunyoung Lee (GPD ’16, Viola) and Hui Chuan Chen (MM ’06, DMA ’14, Piano) playing Henri Vieuxtemps’ Sonata for Viola and Piano, Op. 36; Dominic Leo Brancazio (MM ’16, Horn) and Kelsey Ross (BM ’16, Horn) playing Michel Pignolet de Montéclair’s Two Duets; and baritone Thomas Hochla (MM ’16, Voice) and master's students Elizabeth Sarian, mezzo-soprano, and Aaron Thacker, piano, presenting “MoonFaced, Starry-Eyed” from Kurt Weill’s Street Scene. —— Margaret Bell
See the full commencement ceremony: goo.gl/Xp6Yey
Midori and Eric Owens: Distinguished Visiting Artists
Midori, who made her now-legendary debut with the New York Philharmonic at the age of 11, now serves as distinguished professor and Jascha Heifetz Chair in Violin at the University of Southern California Thornton School of Music. Among
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the social and educational initiatives she has founded are Music Sharing, based in Japan; Partners in Performance, based in the U.S.; and Midori & Friends, a nonprofit organization that brings music education programs to underserved New York City schoolchildren. At Peabody, she will conduct master classes at both the Conservatory and the Preparatory, and deliver interdisciplinary presentations to other Johns Hopkins academic divisions.
Violinist Midori is recognized worldwide as one of the legendary violinists of our times, an extraordinary performer, a gifted educator, and an innovative community engagement activist. Opera star Eric Owens is critically acclaimed as “one of the greatest bass-baritones in the world” (Bloomberg News) and “an American marvel” (Chicago Sun-Times). Both luminaries in the world of performing professional musicians, this fall, they share something else in common. Both are serving as distinguished visiting artists at Peabody for the 2016–17 academic year, visiting campus to work with students multiple times throughout the year. “The opportunity to be exposed to and learn from artists of the caliber of Midori and Eric Owens has a visceral and immediate impact on our students’ experiences at Peabody and in their careers,” says Peabody Dean Fred Bronstein. “The daily interactions with our outstanding faculty form the foundation of high-level training here at Peabody, which is further enhanced when we can bring in world-renowned performing artists who also have unique perspectives on what it takes to build a successful, multifaceted, 21st-century musical career.”
Mr. Owens will coach voice students and lead master classes during 10 days on campus over multiple visits. Currently the Mary and James G. Wallach Artist-in-Residence for the New York Philharmonic, he has established a reputation as both an esteemed interpreter of classic works and a champion of new music. A frequent guest soloist with leading orchestras, he also serves as a community ambassador for the Lyric Opera of Chicago and works regularly with students at the Chicago High School for the Arts and other schools there. “It is truly an honor to have Eric Owens as a distinguished visiting artist because he will have great insight about the operatic profession today,” noted Jacob Bowman, a voice student entering his junior year in Stanley Cornett’s studio. But you don’t have to be a student to take advantage of these special learning opportunities. Master classes led by faculty and visiting artists at Peabody are always free and open to the public. —— Tiffany Lundquist
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PEABODY FALL 2016
In Memoriam: Remembering Gustav Meier Conductor Gustav Meier, who retired in summer 2015 after a venerable and award-winning career that included nearly 20 years teaching at the Peabody Institute, died on May 27. He was 86. Maestro Meier led Peabody’s graduate conducting program until his retirement. “All of us at Peabody are saddened to hear of the passing of Gustav Meier, a great musician, pedagogue, and colleague who for 18 years made Peabody’s conducting program one of the best of its kind,” says Fred Bronstein, dean of the Peabody Institute. “Gustav Meier provided a daily example of the intellect, artistry, and mastery he worked to cultivate in his students, always delivered with a gentleness, charm, and grace that is rare. His influence shaped the careers of countless professional conductors and musicians working today. Through them, and through the graduate conducting program he built up at Peabody, his impact will live on.” Maestro Meier graduated from Zurich Conservatory in Switzerland and led orchestras around the world, serving as music director of the Greater Bridgeport Symphony in Connecticut and as former
“All of us at Peabody are saddened to hear of the passing of Gustav Meier, a great musician, pedagogue, and colleague who for 18 years made Peabody’s conducting program one of the best of its kind." — Peabody Dean Fred Bronstein
director of the Conducting Seminar at Tanglewood from 1980 to 1996. Maestro Meier shared his musical gift with generations of young musicians, serving on the faculty of the Yale School of Music, Eastman School of Music, University of Michigan, Tanglewood Music Center, and the Peabody Conservatory. He regularly appeared as a guest conductor in Europe, South and Central America, China, Canada, and throughout the United States. He conducted master
classes in Kiev, Beijing, Mexico City, Prague, Sofia, and Adelaide. Maestro Meier’s awards include the 1988 Luise Vosgerchian Teaching Award from Harvard University, the 1995 Ditson Conductor’s Award for a commitment to consistently perform works of American composers, and the Max Rudolf Award in 1999 from the Conductors Guild. “There are people we meet who change our lives, and there are people we meet who touch our hearts,” says Marin Alsop, who succeeded Maestro Meier as director of graduate conducting at Peabody, in an online tribute. “Gustav Meier did both and much, much more. He was one of my dearest friends. … He was my family.”
In Memoriam: Frances D.H. Prochazka Frances D.H. Prochazka, who died on June 27 at the age of 89, served on the Peabody Preparatory piano faculty for 26 years. Ms. Prochazka and Alexander Prochazka, her husband of 53 years, funded the Susan Fine Langsam Memorial Scholarship, which provides scholarships to Preparatory students. As an active music patron, she sponsored a duo-piano composition by Thomas Hecht, the rebuilding of the piano at 10
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St. Matthew Church, and the Music in the Valley concert series at St. John’s Church, Western Run Parish. After she retired, Ms. Prochazka’s passions for music and horses shaped her travel adventures, both abroad and in the United States. Her daughter, Carol Battye (BM ’78, Piano), was also a longtime faculty artist at the Peabody Preparatory and formerly served as co-chair of the Preparatory Piano Department. —— Carin Morrell
New Faculty Faces Peabody welcomes several new faculty members to the Conservatory for the 2016–17 school year. Ian Bryan Hoffman was appointed a principal instructor in audio sciences for the acoustical studies concentration, and he will be teaching Architectural Acoustics, Psychoacoustics, Physical Acoustics, Noise Control, and Acoustical Modeling courses. He has committed his career to examining and understanding the curious interactions of sound and space, specifically as they affect the human experience. He has been principally engaged in the design of performance and cultural arts spaces of varying scales and programs on five continents.
Ian Bryan Hoffman
Scott Metcalfe, the director of Peabody’s recording arts and sciences program, says: “The appointment of Ian Hoffman to our faculty is a big step in the Recording Arts and Sciences Department’s refocusing of the acoustical studies MA concentration, and it fits well with Dean Bronstein’s vision to develop the interdisciplinary space. Mr. Hoffman’s training as an acoustical engineer, architect, and pianist — and an impressive resume of consulting work in architecture and acoustics — make him an ideal fit for Peabody.” Organist Jeremy Filsell will be teaching organ studies and sacred music. Dr. Filsell has established a concert career as one of only a few virtuoso performers on both the piano and the organ. He is an artist-in-residence at Washington National Cathedral and
the director of music at the Church of the Epiphany in Washington, D.C. Dr. Filsell graduated from Oxford University as organ scholar at Keble College and completed a PhD at Birmingham Conservatoire/Birmingham City University.
Competition. As an active educator, he has served on faculties of the Pacific Music Festival in Sapporo, Japan, and Interlochen Clarinet Institute in Michigan.
Boris Allakhverdyan Jeremy Filsell
Alumna Qing Li (PC ’91, BM ’92, Violin), the Baltimore Symphony Orchestra’s principal second violin, returns to Peabody as an adjunct violin faculty artist. Ms. Li describes her appointment as coming full circle in her musical life. “Indeed, I’m both honored and humbled to be teaching at Peabody. It’s a real pleasure to work closely with my teacher Herbert Greenberg, old friends, and colleagues of the String Department.”
Boris Allakhverdyan, principal clarinet of the Metropolitan Opera Orchestra, will join the woodwinds faculty. Mr. Allakhverdyan is a founding member of the Prima Trio, the grand prize and the gold medal winner of the prestigious 2007 Fischoff National Chamber Music
Robert D. Day, who received both a PhD and MA in English from Johns Hopkins University, has joined the Humanities Department as a fulltime faculty member. He is working on a book project on ethos and political commitment in the works of Wyndham Lewis, George Orwell, C.L.R. James, and Doris Lessing. John Gabriel is a visiting faculty member in musicology for the 2016–17 academic year. He holds a PhD in historical musicology with a secondary field in Germanic languages and literatures from Harvard University. Additional adjunct faculty include alumni Garrett Arney (MM ’12, Percussion), a studio assistant in percussion; David Drosinos (BM ’88, Clarinet), who will teach clarinet minors; and Jasmine Hogan (BM ’11 Harp; MM ’14, Harp/Pedagogy), who will teach harp pedagogy. Joshua Fishbein will teach music theory courses at Peabody, as well as in the Peabody at Homewood program. New humanities faculty members include Deborah Mifflin, who will teach German at Peabody and the Krieiger School of Arts and Sciences, and La Toya Bianca Smith, who will teach psychology. Wendel Patrick will teach a newly formed hip-hop class, created with a Dean’s Incentive Grant. —— Margaret Bell PEABODY FALL 2016
Junior Bach Celebrates 10th Anniversary In the fall of 2006, when Kevin Clark first walked into St. Ignatius Loyola Academy to teach one middle school student how to compose music, he had no idea what to expect. An undergraduate studying composition, Mr. Clark had never taught in a classroom and certainly never designed a music education program. By May 2007, he had done both. A decade later, Junior Bach has now welcomed more than 100 middle school students from both St. Ignatius Loyola Academy and the Baltimore Leadership School for Young Women. These students work with Peabody Conservatory composition students, who earn academic credit for the course. But it’s not the grade on their transcript that draws Conservatory students to Junior Bach, says Clark. It’s the ability to bring Peabody and to bring music into the Baltimore community. “I wanted to have a community service program that did more than bring Peabody students to paint a wall one Saturday morning in the spring,” says Mr. Clark (BM ’07, MM ’08, Composition; JHU BA ’07, Philosophy). “I knew we had more to offer, and I wanted to find a way for our students to serve their community that could fit into their lives at Peabody, and maybe even give them valuable experience for their future careers.” In celebration of the Junior Bach 10th anniversary, Mr. Clark was joined by program director Judah Adashi (MM ’02, DMA ’11, Composition), Junior Bach mentor Scott Miller (MM ’15, Composition, Music Theory Pedagogy), and Junior Bach students Luis Quintero (St. Ignatius Loyola Academy) and Genesis Henson (Baltimore Leadership School for Young Women) for a panel discussion, “Empowerment Through Music: 10 Years of Junior Bach,” on April 29. Following the discussion, Tariq Al-Sabir (BM ’15, Voice), one of the very first Junior Bach students, 12
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Above: Junior Bach alumnus Tariq Al-Sabir (BM ’15, Voice) with Baltimore Leadership School for Young Women students Dionna Richardson and Genesis Henson in front and St. Ignatius Loyola Academy students Joshua Edwards, Kenneth Cooper, and Luis Quintero. Left: Scott Miller, Genesis Henson, Judah Adashi, and Luis Quintero were joined by Junior Bach founder Kevin Clark at the 10th anniversary panel discussion.
premiered a powerful new composition commissioned for the occasion. Mr. Al-Sabir, now a freelance composer and vocalist in New York City, was described as a precocious 13-year-old with a talent for music when he first joined the Junior Bach program. Ten years later, he has an impressive musical resume, including serving as a lead vocalist on the season four theme song for HBO’s The Wire and as a background vocalist on Billy Ocean’s latest album. “Junior Bach proved to me, like all of its participants, that my idea is almost never out of reach and has more than enough potential to be actualized,” says Mr. Al-Sabir. “As someone with pretty big ideas coming in every day, it’s crucial that I remember that.”
Dr. Adashi says working with students like Mr. Al-Sabir is one of the highlights of his job. The Junior Bach program is a partnership, he says — a two-way street with powerful significance not only for the middle school students, but also for the Peabody Conservatory students and staff. “The only thing I love more [than meeting the Junior Bach students at Peabody each week] is handing them their completed scores, signed by their teachers and performers, after their original music has been premiered in front of all of their classmates,” says Dr. Adashi. “It’s hard to imagine anything more empowering, for the students, or for their mentors.” —— Carin Morrell Listen to works by Junior Bach participants: goo.gl/TRVRWg
Bahl Steps Up to PYO Podium This past May, Harlan Parker conducted the Peabody Youth Orchestra for his final performance. Four months later, Ankush Bahl is excited to be stepping onto the conductor’s podium at Peabody for the first time. “I grew up playing in very good youth orchestras with inspiring conductors and amazing musicians around me,” says Mr. Bahl. “Given how formative those years were for me, I always cherish the opportunity to pass along those experiences whenever I can.” Mr. Bahl joined the National Symphony Orchestra under the mentorship of Christoph Eschenbach in 2011 and conducted more than 100 performances, including his Wolf Trap debut in 2013, the inaugural concert of the Rubenstein Family Organ for the Kennedy Center’s Concert Hall, and numerous sold-out concerts for the NSO’s In Your Neighborhood program. During the summer months, Mr. Bahl pursued his passion of working with young musicians at Boston University’s Tanglewood Institute, Kinhaven Music School, and Sun Valley Summer Symphony. His annual Young People’s Concerts educated over 24,000 students during the NSO season each year. Mr. Bahl’s commitment to educating the next generation, as well as leading professionals in major orchestras around the world, impressed Preparatory Executive Director Gavin Farrell (MM ’99, Percussion; MM ’01, Theory). “His enthusiasm and passion made him the unanimous choice of our search committee, students,
and parents,” says Mr. Farrell. “We are thrilled to have someone of his caliber join our faculty and lead the Peabody Youth Orchestra to even greater heights.” Mr. Bahl joined the Peabody Youth Orchestra, the premier youth orchestra of the Peabody Preparatory, for auditions starting in late August 2016. The opportunity to work yearround with young musicians is one he says he could not pass up. “I am extremely grateful and excited to join the faculty at this distinguished Peabody Institute and work with such talented young people,” says Mr. Bahl. “I can’t wait to get started and hear what the first rehearsals and concerts will bring!” —— Carin Morrell
The Peabody Youth Orchestra in concert, 2014 PEABODY FALL 2016
Veteran Fundraiser Tapped to Head External Relations
Columbia Pro Cantare
40th ANNIVERSARY SEASON 2016-2017 Frances Motyca Dawson, director Saturday, October 22, 2016 – 8 PM “Columbia Pro Cantare’s 40th Anniversary Gala Celebration” Featuring: Vivaldi: Gloria; Hadyn: Missa Brevis Handel: Let the Bright Seraphim; Purcell: Sonata in D Major; Stephen Paulus: Hymn to the Eternal Flame Columbia Pro Cantare, Rachel Blaustein, soprano Zoe Band, mezzo, Susan Rider, trumpet, Donald Fries, organ Howard County Concert Orchestra Auction, Pre-Concert Lecture: Dr. Barbara Renton sponsored by Rotary Club of Columbia-Patuxent Post-Concert Reception Jim Rouse Theatre
December 4, 2016 – 7:30 PM Handel’s Messiah Amy van Roekel, soprano MaryAnn McCormick, mezzo Charles Reid, tenor Lester Lynch, baritone Henry Lowe, positiv organ Festival Orchestra Jim Rouse Theatre
Saturday, December 17, 2016 - 7 PM “A Christmas Noël” with the CPC Chamber Singers PLEASE NOTE NEW DATE AND TIME Christ Episcopal Church Tickets and information: www.procantare.org Or call 410-799-9321
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Jessica Preiss Lunken has spent more than 25 years raising money for good causes, most recently as founder and director of the development office for the Johns Hopkins Department of Psychiatry and Behavioral Sciences. On July 1, she joined the Peabody Institute as the new associate dean for external relations. It couldn’t be a more exciting time to join the executive team at Peabody, Ms. Lunken says. “The synergy is wonderful, and Dean Bronstein is both a gifted administrator and a visionary — a rare combination — with clear and compelling ideas about bringing classical music education into the 21st century.” Dean Bronstein says he is also excited about Ms. Lunken’s appointment. “We are at a critical and, I think, transformative moment in Peabody's history and trajectory. We are thinking anew about how to train young musicians to be great performers and citizen artists in a time when we need the tradition on which great art is built, but reinvented for a world that is not just radically different but constantly evolving. “I know Jessica can help us tell that story to donors, to those who might be donors, and to a broad community here in Baltimore, nationally, and internationally,” he says. Ms. Lunken brings to her work a rich background in the arts. Her father is an academic biochemist who was also a featured tenor in regional opera, Broadway, and Gilbert and Sullivan performances. Her mother is a painter and sculptor. By the time she was 4, Ms. Lunken was already an
aspiring classical ballet dancer. She went to college on a dance scholarship but left school after being recruited to join a ballet company. She performed professionally with three different classical companies before returning to school to embark on her lifelong vocation — raising money for the arts and education. After earning a BA in psychology and comparative literature at Indiana University Bloomington, Ms. Lunken worked in fundraising for a number of arts organizations, including the American Dance Festival, the Kalamazoo Symphony, and the Baltimore Symphony Orchestra. Wanting to better understand the academic fundraising cycle, she joined the JHU development team, first at the Johns Hopkins Bloomberg School of Public Health, then as a director of development at the School of Medicine. She recently earned her MBA, with a focus on medicine and health care management, at the Johns Hopkins Carey Business School. Ms. Lunken says it was bittersweet to move on from the Department of Psychiatry and Behavioral Sciences, “with its important mission and its amazing faculty, staff, students, and donors.” Yet music and the arts “transcend boundaries, feeding the whole person, body and soul,” she says. Dean Bronstein is clearly glad to have Ms. Lunken on board. “Having built a very impressive base of support at JHU Medicine,” he says, “Jessica is exactly the right person for Peabody at this pivotal moment in time.” —— Joan Cramer
Mr. George Peabody believed in the power of the arts to open minds and enrich lives. His vision inspired Mr. Johns Hopkins to establish the Johns Hopkins University, and in 1977 the Peabody Institute became part of the University. What Will Your Legacy Be? As George Peabody and Johns Hopkins did more than a century ago when they founded world-renowned institutions, you can help future generations of aspiring musicians by making a gift to support Peabodyâ€™s future. Consider these opportunities to leave a meaningful legacy while taking into account your personal goals.
From Your Will or TrusT Gifts that cost nothing in your lifetime. reTiremenT Plan DesignaTion Avoid the double taxation incurred if designated to heirs. liFe income giFT Receive annual income and an immediate tax deduction with a charitable gift annuity or charitable remainder trust. To learn more about these and other creative ways to support the Peabody Institute, contact:
Office of Gift Planning firstname.lastname@example.org 800-548-1268 rising.jhu.edu/giftplanning Seek advice from a tax professional before entering into a gift annuity agreement. Johns Hopkins gift annuities are not available in all states. Photo: Michael Dersin
APPLAUSE ST UDENTS Senior Nicholas Duncan has won the second trumpet position in the Billings Symphony in Mont. Mr. Duncan is a double degree student in engineering from Johns Hopkins and trumpet from Peabody. He studied with Joe Burgstaller, Phil Snedecor, and David Fedderly.
Master’s student Sam Hong, piano, was selected as one of five finalists for the 2017 American Pianists Awards. The finalists will go through a unique 13-month competition process, making frequent visits to Indianapolis to perform various solo and chamber recitals and outreach concerts in the community. Mr. Hong, who studies with Leon Fleisher, also recently won second prize in the Mondavi Young Artists Competition at the University of California, Davis. DMA candidate Sungpil Kim (BM ’11, MM ’12, Piano) performed Mozart’s Piano Concerto No. 23 in A major, K. 488 with the Moscow Symphony Orchestra at Moscow Conservatory’s Grand Hall on January 23. On January 25, Mr. Kim presented a concert for the U.S. Embassy at the Spaso House in Moscow on a piano previously played by renowned pianist Vladimir Horowitz. Mr. Kim is a student of Brian Ganz. Symphony Number One named Melissa Johnson Lander, a clarinet and chamber music GPD candidate studying with Anthony McGill, as its new executive director. Ms. Lander performed in Symphony Number One’s debut concert in May 2015, led the work that culminated in SNO’s performance at Light City, and most recently created Symphony Number One’s chamber music series, Beethoven’s Kitchen.
PEABODY FALL 2016
ACCOM P LIS H M EN TS O F FACU LT Y A N D STU D EN TS
The Youngs and the Restless — a guitar quartet with DMA candidate Nathan Cornelius, Young Ik Jang (BM ’14, MM ’16, Guitar), Young Jun Lim (BM ’16, Guitar), and Eric Meier (BM ’16, Guitar) — won the Guitar Foundation of America 2016 Guitar Ensemble Showcase Competition in the University Small Ensemble category. The winning quartet, directed by Serap Bastepe-Gray (BM ’96, MM ’99, Guitar), performed during the 2016 GFA Convention and Competition at Metropolitan State University in Denver, Colo., on June 22. Junior Juan Esteban Martinez, a clarinetist who studies with Anthony McGill, won first place in the Cynthia Woods Mitchell Young Artist Competition at the 27th annual Immanuel and Helen Olshan Texas Music Festival in Houston on June 12. Mr. Martinez performed as a soloist with the TMF Orchestra on June 24–25 and will appear with the Leipzig Akademisches Orchester in Germany in fall 2016.
Meyerhoff Symphony Hall. She also met with composer Tan Dun in June, when she studied his concerto for guitar and orchestra, Seven Desires. A member of the Beijing Guitar Duo, Ms. Su recorded Dr. Dun’s Eight Memories in Watercolor on their CD Bach to Tan Dun. Sophomore harpist Thea Kammerling, Melody Swen (BM ’16, Harp; KSAS BA ’16, Public Health Studies), Peggy Houng (BM ’14, Harp; KSAS BA ’14, Cognitive Science), and Jasmine Hogan (BM ’11, AD ’16, Harp; MM ’14, Harp/Pedagogy) presented a special Composition Forum, where they premiered new works at the USA International Harp Competition in Bloomington, Ind. Computer music composition master’s student Tuo Wang’s piece, Disorderly for solo bass and electronics, was featured at the 2016 International Computer Music Conference in Utrecht, Netherlands, in September. Jiaoyang Xu (BM ’15, Cello), a cello master’s student of Amit Peled, was a semifinalist in the Alice and Eleonore Schoenfeld International String Competition in Harbin, China, on July 25.
Senior Clara Plestis, soprano, won first place in the 2016 Hal Leonard Vocal Competition, College/University Voices Art Song category. The prize includes a $1,000 award. This is the sixth year of the competition, which takes place entirely online. Peabody doctoral candidate Michael Repper will be the new music director of the Northern Neck Orchestra in Northern Neck, Va., beginning in fall 2016. Mr. Repper guest conducted this orchestra at a concert in November 2015. Artist diploma candidate Meng Su (PC ’09, GPD ’11, MM ’16, Guitar; GPD ’15, Chamber Music) was the featured soloist in two performances with the Baltimore Symphony Orchestra at Joseph
Faculty member Judah Adashi (MM ’02, DMA ’11, Composition) was named a finalist of the $50,000 Johns Hopkins Provost’s Award for Faculty Excellence in Diversity. The prize acknowledges faculty efforts across a broad spectrum of disciplines, such as international affairs, business, education, science, health, public policy, the arts, and other fields. Director of the Graduate Conducting Program Marin Alsop led the Grant Park Music Festival’s weeklong celebration of the MacArthur Foundation’s Fellowship Program (“Genius Grants”), showcasing programming specially curated by Maestra Alsop for festival audiences in July. Faculty artists Marin Alsop and Manuel Barrueco (BM ’75, Guitar) were featured in the July issue of the UK’s Gramophone magazine in an article on Latin American music, specifically the work of Heitor Villa-Lobos.
Faculty artist Manuel Barrueco (BM ’75, Guitar) performed on tour and conducted master classes during July. He began at the Cordoba Guitar Festival of Spain with a recital on July 3. From there, he traveled to Hong Kong, where he performed a recital in the Concert Hall of the Academy for the Performing Arts, then on to Shanghai, China, and the Beijing Concert Hall. Chad R. Bowles (MM ’05, GPD ’07, Piano), chair of the Preparatory’s Piano Department, made his second appearance at the Newport Music Festival, playing both the entire first book of Debussy Preludes and the Liszt Sonata in B minor. Music theory faculty member Jenine Brown published a journal article in Music Perception titled “The Psychological Representation of Musical Intervals in a Twelve-Tone Context” in February. The article explores what we learn about 12-tone music when passively listening to it. Composition faculty member Kevin Puts and opera stage director Garnett Bruce will open and close Austin Opera’s 2016–17 30th anniversary season. The season began with The Manchurian Candidate, an adaptation by Dr. Puts of the novel by Richard Condon, on September 17, and closes with Garnett Bruce’s production of Puccini’s Madama Butterfly in April and May 2017.
Trumpet faculty artist Joe Burgstaller joined multiple myeloma survivor Ryan Anthony, Michael Sachs (principal trumpet of the Cleveland Orchestra), and the Cleveland Orchestra’s Youth Ensembles for a Cancer Blows benefit on May 30 in the orchestra’s Severance Hall. DVDs and CDs of that concert can be
purchased at cancerblows.com. Mr. Burgstaller was the keynote performer and speaker, as well as a featured soloist and master class clinician, at the Music for All National Festival in Indianapolis in March.
The Aspen String Trio — faculty artist Victoria Chiang, viola; Michael Mermagen (BM ’84, Cello); and David Perry, violin — was featured on YourClassical’s Performance Today on March 25. The recording was of Beethoven’s String Trio in G major, Op. 9, No. 1, performed at the Henry Morrison Flagler Museum in Palm Beach, Fla., on January 20, 2015. Faculty artist Mark Cudek (MM ’82, Lute) performed with the Baltimore Consort on June 17 and 18 at the Indianapolis Early Music Festival. The group also performed a concert version of the program on July 12 for the Madison Early Music Festival in Madison, Wis. Mr. Cudek, who serves as artistic director of the Indianapolis Early Music Festival, and the Baltimore Consort were featured in the cover story in Early Music America’s summer issue. Jazz faculty artist Michael Formanek received high honors in DownBeat magazine’s 64th annual Critics Poll for 2016. His latest CD, The Distance, was ranked No. 9 in the Jazz Album of the Year category. DownBeat magazine’s review marks Mr. Formanek’s third five-star “masterpiece” rating review from the publication since 2010. Chair of the Peabody Preparatory Guitar Department Zane Forshee (MM ’01, GPD ’03, DMA ’11, Guitar) was awarded the Preparatory’s Excellence in Teaching Award on June 5. Dr. Forshee began his Laptop Tour Project, which broadcasts short performances from
unique spaces around the country using his laptop, on April 18 from the Makespace in Harrisburg, Pa.
called ARABY for mezzo-soprano and cello, including her commissioned James Joyce–inspired work.
Voice faculty artist Denyce Graves, mezzo-soprano, was the feature of a segment that aired on NBC Washington on May 10 in which she donated a gown given to her by contralto Marian Anderson, one of the most celebrated singers of the civil rights era, to the Smithsonian’s new National Museum of African American History and Culture.
Now Hear This Artistic Director Courtney Orlando, violin, and her ensemble, Alarm Will Sound, premiered Donnacha Dennehy’s The Hunger on June 1 in the Terrace Theater of the John F. Kennedy Performing Arts Center.
Composition Department Chair Michael Hersch (BM ’95, MM ’97, Composition) was a finalist for the President’s Frontier Award, which recognizes one Johns Hopkins faculty member each year. Each finalist was awarded a presidential monetary gift of $50,000 to support innovation and advancements in his or her field. Soprano and faculty artist Ah Young Hong (BM ’98, MM ’01, Voice) premiered Mr. Hersch’s song cycle a breath upwards in Manhattan on June 10, and Zwischen Leben und Tod: twenty-two pieces after images by Peter Weiss was premiered in a full multimedia presentation at National Sawdust in Brooklyn on June 28. Musicology faculty member David Hildebrand was one of 17 PhDs and PhD candidates selected for a three-month residential fellowship for 2016–17 at Mount Vernon’s Fred W. Smith National Library for the Study of George Washington. Soprano and faculty artist Ah Young Hong (BM ’98, MM ’01, Voice) and Michael Atkinson, horn, performed the world premiere of a tower in air by Michael Hersch (BM ’95, MM ’97, Composition) on May 28 at St. Saviour’s Church in London. Ms. Hong was the soprano soloist with the Vienna Chamber Orchestra and Westminster Choir College’s Symphonic Choir in a performance of Beethoven’s Ninth Symphony, which continues to air on many public television stations across the country. HOWL, the ensemble of composition faculty member Amy Beth Kirsten (DMA ’10, Composition), made its New York City debut on February 28 at National Sawdust in a world-premiere production
Cello faculty artist Amit Peled presented Cello Mania, three days of master classes, in Israel in April. The master classes were live-streamed through iClassical Academy. He was also interviewed on Tel Aviv TLV1 Radio and performed a free concert at the Ra’anana Music Center.
Northwestern University Bienen School of Music’s Symphonic Wind Ensemble gave the world premiere of faculty member Joel Puckett’s that secret from the river on February 5. Humanities Chair Hollis Robbins (KSAS BA ’83, Writing Seminars), director of Africana studies at KSAS, published “U.S. History in 70 mm,” a review of Quentin Tarantino’s The Hateful Eight, in The Journal of the Gilded Age and Progressive Era, Vol. 15 Issue 03, July 2016. She also delivered a paper, “Dictating Influences: Hannah Bond and Bleak House,” at the 27th annual conference of the American Literature Association in San Francisco on May 26. She served as faculty at the Space & Place in Africana/ Black Studies institute from June 6–10 at Purdue University. Preparatory voice faculty artist Devonna B. Rowe was one of four 2016 inductees into the “Indispensable Role of Blacks at Johns Hopkins University” exhibit. Blacks who have made an indelible mark on Johns Hopkins
University from medicine and the sciences to arts and humanities were honored during a ceremony on the Homewood campus June 17. Dr. Rowe has served on the Preparatory faculty for 14 years.
Humanities Department faculty member Jelena Runić gave poster presentations at the 90th annual meeting of the Linguistic Society of America in Washington, D.C., in January; at the 40th annual Penn Linguistics Conference at the University of Pennsylvania in March; at the Teaching English to Speakers of Other Languages International Convention and English Language Expo in Baltimore in April; at the Conference on College Composition and Communication: Writing Strategies for Action in Houston, also in April; and at the Ellipsis Across Borders Conference in Bosnia and Herzegovina in June. Faculty member Dan Trahey (BM ’00, Tuba, Music Education) traveled with a delegation from Yale University to work in refugee camps in southern Italy and Greece in May to help develop ways in which to infuse performance art into the fabric of these camps. A new book, A Cole Porter Companion — edited by musicology faculty member Susan Forscher Weiss, Don Randel, and Matthew Shaftel — was released on June 15.
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PEABODY FALL 2016
This academic year, Peabody welcomes four music industry thought leaders as featured speakers in the 2016–17 Dean’s Symposium Series, which provides a platform for conversation about the future of music and the issues facing professional musicians today. All four planned events will be free and open to the public, as well as available to view online via live stream. “These four guests are among the most innovative, forward-thinking artists and leaders out there,” notes Fred Bronstein, dean of the Peabody Institute. “As practitioners and writers, to a person, they are cleareyed and insightful about the challenges facing our industry and bold in their work to advance music. I’m very much looking forward to engaging our community in these important conversations.”
“Orchestras do not name themselves after Mahler, the Beethoven Orchestra, the Tchaikovsky Orchestra, the Shostakovich Symphony Orchestra. Instead, they name themselves after the communities in which they reside. Since they do name themselves after their communities, a significant aspect of their mission, and who they are and what they do, should relate not only to the music they perform but the communities in which they reside.” (Sphinx Con, 2014)
Dean, University of Michigan’s School of Music, Theatre, and Dance
Monday, October 10 A MacArthur Fellow in 2005, Mr. Dworkin is a former member of the National Arts Policy Committee and was President Obama’s first appointment to the National Council on the Arts. He is also the founder of The Sphinx Organization, a leading national arts organization for transforming lives through the power of diversity and the arts.
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Watch Mr. Dworkin’s speech at Sphinx Con: goo.gl/EHgo0X
“I see all the reviews. People say, ‘Oh, I hate classical music, but I love this. I’m going to buy tickets to the Dallas Symphony.’ And that’s exactly what I was hoping for.” (Classical Minnesota Public Radio, 2015)
Oboist; Writer, Mozart in the Jungle: Sex, Drugs, and Classical Music and The New York Times
Monday, November 28 Ms. Tindall’s first book — Mozart in the Jungle: Sex, Drugs, and Classical Music — is the basis of the Amazon Studios comedy series that announced its third season last February. She is credited not only as the “based on” author, but also as consultant and actor for the series. She completed Mozart in the Jungle during a fellowship in 2004 at The MacDowell Colony in Peterborough, N.H. She also writes about classical music for The New York Times and has performed, toured, and recorded with the New York Philharmonic.
YEA R S
FREE TO ALL
CHAMBER MUSIC BY CANDLELIGHT
Featuring members of the Baltimore Symphony Orchestra
SEPT 25, 2016
Free Post-Concert Reception
“I am a white American male who listened to nothing but classical music until the age of 20. In retrospect, this seems bizarre; perhaps ‘freakish’ is not too strong a word.” Listen to This
Music critic, The New Yorker
Monday, February 6 Mr. Ross’ first book — The Rest Is Noise: Listening to the Twentieth Century, a cultural history of music since 1900 — won a National Book Critics Circle award and the Guardian First Book Award, and was a finalist for the Pulitzer Prize. His second book is the essay collection Listen to This. In 2008, he was named a MacArthur Fellow; he has also received an Arts and Letters Award from the American Academy of Arts and Letters and the Belmont Prize in Germany.
“That’s what’s so liberating about opera, because nobody can do it alone. The soprano is dependent on the oboe player, who is dependent on the person whose finger is on the switch on the light board, who is dependent on the person who raised the curtain, who is dependent on the person who tore the ticket, who is dependent on the person who served you your drink at intermission. … Human beings are doing this astounding thing, which is working together to make something that is way beyond their individual selves, or capacities, and that lifts everybody to a new place.” WETA, 2004
American theater and opera director
Monday, April 17 Renowned worldwide for his innovative treatments of classical material from Western and non-Western traditions and for his commitment to exploring the role of the performing arts in contemporary society, Mr. Sellars teaches Art as Social Action and Art as Moral Action at UCLA’s Department of World Arts Cultures/Dance. He has served as artistic director of the Los Angeles Festival, the American National Theatre at the Kennedy Center, the Boston Shakespeare Company, and the Elitch Theatre for Children in Denver, and is a recipient of the MacArthur Prize Fellowship.
OCT 02, 2016 NOV 20, 2016 FEB 12, 2017 MAR 05, 2017 APR 09, 2017 MAY 21, 2017
Free Post-Concert Reception
JUNE 11, 2017
SUNDAYS @3:30PM OCT 23, 2016 Daniel del Pino, piano
NOV 13, 2016 David Burgess, guitar
JAN 22, 2017 William Wisnom, organ
FEB 26, 2017
Marina Piccinini & Beijing Guitar Duo
MAR 26, 2017 Moran Katz, clarinet
APR 23, 2017 Wonderlic Recital
MAY 07, 2017
Times Two: Draiblate & Johnson
For more information call 443.759.3309 or visit CommunityConcertsAtSecond.org
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CAN THE CONCERT HALL BE
REIMAGINED? BY RICHARD BYRNE ILLUSTRATION BY MICHAEL WOLOSCHINOW
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The concert hallâ€™s centrality in our musical landscape often makes it hard to remember that anything existed before it. For musicians and audiences alike, the concert hall is a HALLOWED SPACE, possessing a gravity and resonance that compels REVERENTIAL SILENCE and
ATTENTION. Concert halls are
vital anchors too: concrete reminders of
that hold traditions of excellence
FAST AND SECURE. PEABODY FALL 2016
powerful shifts in audience expectations and technology now present new challenges for YET these unique spaces. Sarah Hoover (DMA ’08, Voice), Peabody’s special assistant to the dean for innovation, interdisciplinary partnerships, and community initiatives, says these challenges are very much in the air at Peabody, especially as the institute renovates its landmark Miriam A. Friedberg Concert Hall as it prepares to celebrate the venue’s 150th anniversary. “How is the experience of attending and performing in a concert hall changing to meet new needs and patterns of consumption?” she asks. “Can we realign our training of students to meet those changes? How will new spaces — and new uses of old spaces — shape our future relationship with our community?” In search of the possibilities, we asked leaders who are prominent in rethinking and renovating the concert hall and its experience for their visions of this task. Can we extend the richness of these structures to better connect with audiences — both now and in the future?
Watch the New World Symphony WallCast: goo.gl/HLq15z
Innovation in Miami: Audiences enjoy the New World Symphony inside the New World Center, left, and outside at Miami Beach SoundScape Park, where performances are projected onto a 7,000-square-foot façade.
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DISCONTENTED FORMS In our buzzed and buzzing culture, there is an irony to savor in recalling that the coffeehouse was a precursor of the concert hall. As Victoria Woodhouse observes in her book, Site and Sound: The Architecture and Acoustics of New Opera Houses and Concert Halls (The Monacelli Press, 2012), it was not until the mid-18th century that the concert hall displaced music rooms, salons, and public coffeehouses as the main site for musical performance. “Generally, there is an awareness that new ideas are needed, but there is also resistance to change,” says Joshua Dachs, one of America’s premier designers of concert halls, opera houses, and theaters. “As the kind of work that is being made changes, as the artists that perform them and program them change, new spaces will be demanded and new institutions will emerge, along with new business models to sustain them.” At Fisher Dachs Associates, Mr. Dachs is currently working on a redevelopment of Lincoln Center’s David Geffen Hall (formerly Avery Fisher Hall), and his other work on the center’s campus includes the renovation of Alice Tully Hall. He argues that swinging the pendulum back to informality and pleasure may be a road map to reimagining the concert hall experience. “The early concert hall was a kind of pleasure palace, where there was drinking, dining, dancing, and gambling, and there were bedrooms upstairs, and you came to hear the latest music; it was completely about new music in a festive and informal atmosphere,” says Mr. Dachs. “We have gotten so far away from that, that new audiences don’t want to come anymore. We need to find our way back to that, reduce formality and re-inject a focus on social engagement and pleasure into the evening.” Indeed, the boom of popularity in orchestral works into the 19th and 20th centuries was part of what carried audiences away from informality into more serious — and even intimidating — spaces. As thousands thronged to hear music in concert halls, the quest for better and better acoustics at larger scale cemented
the traditional “shoebox” design and created the grand ambitions for these spaces that remain with us to this day. Yet while bold new halls, such as Hamburg’s Elbphilharmonie, still provide platforms for cities and architects to make brash aesthetic statements, Mr. Dachs says artists and institutions grappling with changing expectations of the concert experience are the engine of the process. “It isn’t the designer’s job to rethink concert spaces,” Mr. Dachs says. “Unless it originates with the artists, it’s going to fail. We can’t look to architects, who are good at many things, to point the way to the future of concert hall design. We have to look to musicians and conductors and arts administrators.” Profound changes have accelerated this discussion. Stretched budgets and a clamor to enlarge the repertoire are key pressure points. And there are challenges deeper still. The interaction sought by contemporary audiences often collides with prescribed modes of conduct. Technological innovations — from high-definition to virtual reality — intensify audience demands for an immersive and intensely vivid concert experience. One of the most important developments in rethinking concert halls, says Mr. Dachs, is a realization that size does matter. “I think a very healthy trend, even in the most conservative situations, has been to reduce seating capacity,” observes Mr. Dachs. “It used to be, back in the ’50s and ’60s, that it was assumed that bigger was better. That there would always be more audience. That foundation support would continue at the levels it was at previously. But then, of course, it was discovered that not only does that place people far away, but it compromises acoustics, for many reasons, partly because an orchestra makes just so much noise: If the space is big enough to hold a lot of people, it will be less impactful for each of them than it would be in a smaller space with fewer people.”
MAKING IT WORK Practical work in reimagining the concert hall and experience is under way. One of the most far-reaching and successful laboratories is the New World Symphony, America’s Orchestral Academy, which explores how lights, sound, video, and space can transform the concert experience in its home at the New World Center in Miami, Florida. Howard Herring, president and CEO of New World Symphony, is charged with helping fellows at the institution — including many Peabody graduates — navigate the shifting currents of contemporary audience engagement with artistic rigor and alertness to
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interdisciplinary pathways. “The combining of multiple artistic disciplines is there to be done,” says Mr. Herring. “There are so many possibilities.” The academy’s investigations of those possibilities extend from clever dual use of interior design — acoustic sails that double as video projection surfaces — to the creation of the Miami Beach SoundScape Park, where audiences can take in New World performances outdoors as they are projected onto a 7,000-square-foot façade. “In the digital environment, flexibility has a high value,” says Mr. Herring. “You have to design for what you can’t predict.” Since New World Symphony’s Frank Gehry–designed center opened in 2011, he adds, “we have used all the capabilities of the space, and used it in ways that we didn’t foresee.” Mr. Herring says the New World Symphony seeks to satisfy existing audiences and discover new audiences where they exist. “We imagine — and are succeeding in attracting — multiple audiences,” he says. Finding new audiences where they are is also a driving force behind New York City’s (Le) Poisson Rouge — a 700-seat venue built in a space in the bustling West Village formerly occupied by the legendary jazz club the Village Gate. “Cabaret seating, close proximity to the artists, and modest ticket prices are critical to what (Le) Poisson Rouge believes and how it functions,” says David Handler, co-founder of the New York music venue. “Listeners can come as they are, familiar with the repertoire or not, and hear world-class artists a few feet away.”
At (Le) Poisson Rouge in New York City, concertgoers enjoy cabaret seating and close proximity to artists.
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(Le) Poisson Rouge was designed by John Storyk, founding partner of Walters Storyk Design Group, who boasts credits as diverse as the Jazz at Lincoln Center and Jimi Hendrix’s legendary Electric Ladyland studio. “(Le) Poisson Rouge was designed not only to make the room sound its best,” says Mr. Handler, “but also to provide the acoustic versatility we require given the breadth of our programing — string quartets to punk rock, gamelan to electronic music.” Melding disciplines and milieus is at the heart of the enterprise. “Historically speaking, it’s only relatively recently that the art experience and the social experience have existed apart from one another,” he observes. “(Le) Poisson Rouge was created to bring ‘art and revelry,’ as we affectionately refer to them, together; to give more spontaneity and social relevance to the arts and more substance to nightlife.”
PLAYING THE ROOM As institutions reimagine space with audiences firmly in mind, how those changes affect musicians presents another key issue. “Sometimes it is musicians who are the most resistant to new ideas,” says Mr. Dachs. For players who are intent on forging a successful career, for instance, the traditional concert hall has lost little of its prestige and credentialing influence. (Who doesn’t want to play Carnegie Hall?) But new spaces must convince musicians that they will sound their best and connect with audiences. Larry Kirkegaard is one of the world’s most prominent acousticians, and he is working now with Peabody on the renovation of Friedberg Hall. He says he is excited by the “creative experimentation” in design and programming of concert halls, but he adds that enhancing the acoustical comfort zone for players is foundational to transforming those innovations into successes. “What most players would like to find in a room is a sense that, whatever their instrument, they feel that they are almost playing the room,” says Mr. Kirkegaard. “That the room is like an ideal dance partner, moving with care, fidelity, and responsiveness.” Mr. Kirkegaard says that finding the “just right” sound in any space is key to audience engagement. “Musicians want to play in a space that makes them feel supported and energized by the ease of of making a compelling sound,” he explains. “And it’s contagious. The audience senses that energy and feels connected.” For Mr. Handler at (Le) Poisson Rouge, the value of live music is worth risking imperfections to make connections. “Acoustical perfection is certainly a worthy pursuit, but music that exists in real life — imperfections and all — is perhaps a more important, more relevant focus,” he observes. “Attempting to manufacture a perfect acoustic environment may itself be an illusion of control.”
Designer Joshua Dachs is currently working to renovate Alice Tully Hall at New York’s Lincoln Center.
It’s important not to let the perfect be the enemy of the very good, continues Mr. Handler. “There is no more controlled environment than listening to a studio album on headphones,” he observes, “but people want the subtlety, nuance, and imperfection of the live experience now more than ever.”
INCREASING THE INVENTORY The efforts made to reimagine the traditional concert hall are, in a way, a powerful testimony to its continued centrality and resonance. Playing Friedberg Hall will remain a capstone of the conservatory experience at Peabody, for instance, and that precious experience will only be enhanced by the careful acoustical adjustments undertaken by Mr. Kirkegaard in its renovation. Mr. Dachs says that institutions and musicians should not be seeking the retrenchment or the displacement of the concert hall, but rather undertake a quest to expand the number and kind of acoustically rich spaces in which audiences can encounter and enjoy music. “The older ways of doing things may not completely disappear and be replaced, but they will inevitably be joined by new ways of doing things,” says Mr. Dachs. What there is room for right now is a concerted effort to find a middle ground. We talk about, ‘What’s missing in the inventory?’ You have high-end, 2,000-seat concert halls built on a traditional models, and small recital halls, and churches and coffeehouses, and that’s fine. What we don’t have is something in between. That’s where there’s room for invention: an 800- or 1,200-seat space that takes some sort of new approach, perhaps having to do with flexibility, or integrating food and beverage more. Who knows? But large enough to support ambitious work by larger ensembles, and small enough to be nimbler than a 2,000-seat formal concert hall can be.” Rethinking the concert hall experience will certainly shape the future for Peabody audiences — and perhaps
reshape the training of its conservatory students. “Good performance will always be about connectivity to the listener,” says Mr. Handler, “no matter what the environment. [And] the need to engage one’s audience offstage is more important now than ever. Sometimes, I think owing to intensity of their training regimens, conservatory-trained musicians feel that having practiced and won prizes, their work is done. That their audience is waiting for them. But the work of finding one’s audience and being understood and supported by that audience is as important as playing well, and often begins after mastery of their instrument is achieved.” Mr. Herring observes that New World Symphony fellows are eager to explore these new vistas. “At first, they are dumbstruck by the number of possibilities,” he says. “Then they let their imaginations consider the uncharted territory. We’re asking them to search for the richness in all these technological and multidisciplinary capabilities. And that is not an easy task, by the way.” As concert spaces are debated, created, and reinvigorated by new ideas and technologies, Mr. Herring says they have the potential to achieve the richness, resonance, and relevance we still find in the traditional concert hall. “We’re making new hallowed spaces, and we’re doing it across a broad spectrum,” says Mr. Herring. “We have a range of performance space sizes, large to small. We have formality, greater or lesser. We have proximity to audience, closer or farther away. We have concert durations, short or long. The freedom is both terrifying and exhilarating. “You make a hallowed space not just by playing,” concludes Mr. Herring. “You make a hallowed space with all the points of connection that make a concert experience.” PEABODY FALL 2016
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Conducting’s Changing Face New initiatives aim to expand the pipeline to the podium for more women and people of color.
By Linell Smith Illustration by Andre da Loba
Tong Chen (GPD ’11, Conducting), the first female music director of the Yonkers Philharmonic Orchestra, savors small moments that have made a big difference, such as the time Marin Alsop helped her understand a troublesome passage in Brahms’ Symphony No. 3. On one of Alsop’s rehearsal breaks, she invited the Peabody graduate student into her office to go over sections of the iconic masterpiece, the music that Ms. Chen would conduct at the upcoming Malko Competition for young conductors in Copenhagen. “She said to me, ‘What’s the dynamic? Show me again.’ We did the opening page again and again, at least 20 times,” Ms. Chen recalls. “She gave me so many useful comments — not only how to do the opening, but how to practice without going through the entire symphony. How to go through the difficult part until we really get the sense of the music.” That year, 2012, Ms. Chen won a prize at the prestigious competition. She also acquired an undying affection and gratitude to Maestra Alsop and the Peabody conducting program from which she graduated. Developed by the late Gustav Meier (see tribute, p. 10), the program first offered degrees in the 1960s and is one of the most respected in the country. Now in its second year under Maestra Alsop — the first woman to conduct a major American symphony orchestra (she is music director of the Baltimore Symphony Orchestra) — it is continuing to expand opportunities for women, musicians of color, and other nontraditional conducting students.
In recent years, the program has trained Joseph Young (AD ’09, Conducting), assistant conductor of the Atlanta Symphony Orchestra; Norman Huynh (MM ’13, Conducting), associate conductor of the Oregon Symphony; and Gemma New (MM ’11, Conducting), resident conductor of St. Louis Symphony Orchestra. Gonzalo Farias, an American-trained Chilean conductor, is presently one of Maestra Alsop’s students and also serves as the BSO/Peabody conducting fellow. “Maybe I’m a little more sensitive having been a member of an underrepresented group in this field for so long,” Maestra Alsop says. “I do think that in building a class, as in building an orchestra, diversity results in richness and variety of experience.” Attracting, and retaining, the new audiences vital to the survival of symphony orchestras depends on finding ways for musicians to better reflect the cultural diversity and interests of the U.S. population, according to Fred Bronstein, dean of the Peabody Institute. He says that providing opportunities for promising PEABODY FALL 2016
“They say, ‘You know, I’ve always loved classical music, but this is really different. I feel really engaged,’” Maestra Alsop says. “It’s as if they can picture themselves doing it.”
musicians from diverse backgrounds is an institutional priority that extends from the Preparatory through graduate programs. Surveys show that symphony orchestras continue to lag behind other fields in their efforts to improve the diversity of their workforce. Women now comprise almost half of the orchestra members in the United States — thanks in large part to the adoption of blind auditions. However, the racial and ethnic diversity of musicians has increased only modestly during the past 14 years, mostly due to the addition of more Asian and Pacific Islander instrumentalists. A report by the League of American Orchestras in 2014 — the most recent year available — shows that less than 2 percent of the musicians on stage were African-American, while almost 86 percent were white. Nine percent were Asian and Pacific Islander, and 2.5 percent were Latino. “I think you can’t realistically expect to broaden your audience unless you broaden the people who are on the stage,” Dean Bronstein says. “If you want to have a diverse audience, you’ve got to have musicians who look like the people you want to attract.” You might say that begins with the figure on the podium, where the statistics are slightly better than in the orchestra. In a survey taken this year by the league, 78 percent of the music directors and principal conductors were white, while 7.6 percent were Latino, 7.1 percent were Asian and Pacific Islander, and 2.4 percent were African-American. Jesse Rosen, president and CEO of the league, attributes conducting’s better showing in diversity, in part, to the tradition of hiring music directors from an international pool. These days, many young conductors from South America and Asia also study in the United States and continue to train there at small orchestras, while instrumentalists, mostly American, must compete right out of music school for orchestra positions. Performance traditions still work against gender parity on the podium: Only 9.2 percent of the music directors of American orchestras are women. The lone female music director among the 24 highest-budget U.S. orchestras, Maestra Alsop is determined to improve those figures. Since 2002, she has provided mentorship and support for women conductors through a fellowship program she created. Four of her mentees are now in prominent positions at orchestras: three music directors at the Hartford Symphony Orchestra (Carolyn Kuan, GPD ’04, Conducting), the Reno Philharmonic Orchestra (Laura Jackson), and the Chicago Sinfonietta (Mei-Ann Chen); and assistant conductor of the Cabrillo Festival of Contemporary Music (Alexandra Arrieche, AD ’13, Conducting). The maestra continues to receive countless comments from women in the audience who consider her an inspiration. PEABODY FALL 2016
Achieving diversity in the world of classical music depends on increasing and strengthening the academic systems that feed it. “Unlike other fields, people don’t decide when they’re 18 years old that they’re going to be a violinist. They decide when they’re 8 to 10 years old, if not earlier,” Dean Bronstein points out. “That’s what’s required to even be in the game, so to speak. So when we talk about changing the pipeline, we talk about getting people into the field. And it has to start so early.” Consider programs such as the Peabody Preparatory’s Tuned-In program, which this year will receive additional support from a National Endowment for the Arts grant. Tuned-In provides gifted young public school students who would not otherwise have the means with tuition-free opportunities to study an instrument.
Above: Joseph Young, assistant conductor of the Atlantic Symphony Orchestra, was the first BSO/Peabody conducting fellow. Left: Gemma New is resident conductor of the St. Louis Symphony Orchestra.
Violinist Mellasenah Edwards, head of the music department at the Baltimore School for the Arts and a faculty artist of the Peabody Preparatory, praises such efforts as Tuned-In and the BSO’s OrchKids, a free music education program for Baltimore City schoolchildren. “I think the word ‘exposure’ is the biggest word at helping the cause of diversity,” she says. “If the students can see the possibilities, then they can believe in them.” Joseph Young, of the Atlanta Symphony, grew up near Charleston, S.C., played trumpet in a high school band, and discovered his passion for conducting in a summer arts program. The first major conductors he met in workshops after he received a degree in music education were Maestra Alsop and Michael Morgan, conductor of the Oakland Symphony Orchestra. “So an African-American and a woman were the first people who really took the time to give me advice as a conductor,” he says. “To me, that’s really a new normal.” Mr. Young and Roderick Cox, assistant conductor of the Minnesota Orchestra, are the only AfricanAmerican conductors of their generation who are on staff at major American symphony orchestras. However, Mr. Young routinely tells aspiring students that the most challenging aspect of his job may be its uncertainty; assistant conductors typically stay with an orchestra for only a few years.
The Path to Diversity The Peabody Diversity Pathway Task Force, created by Peabody Institute Dean Fred Bronstein, is developing strategies for increasing diversity and inclusion across the institution. Consisting of faculty members, staff members, students, alumni, and advisory board members, the group will find ways to implement new practices, both short and long term, to build a greater sense of diversity and cultural inclusion. “My approach is that we can’t solve this for the world, but we can create an example, and have an impact, right here,” Dean Bronstein says. Part of his plan includes bringing more diverse voices to campus. Joseph Young will conduct the Peabody Concert Orchestra in October. As part of the Dean’s Symposium, violinist Aaron Dworkin, dean of the University of Michigan’s School of Music and founder of the Sphinx Organization, dedicated to developing AfricanAmerican and Latino classical musicians, will speak October 10 about the changing nature of classical music. Opera singer Eric Owens will visit as a distinguished visiting artist and teacher throughout the year.
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MARIA DEL NAJA ELLE LOGAN
While success for many classically trained musicians means securing a permanent job either performing with an orchestra or teaching, forging ahead as a conductor relies heavily on constant networking. “We’re always searching for the next thing. We don’t get to settle anywhere,” Mr. Young says. “It’s always the idea of, ‘What’s next? Where will I find a job?’ There is no set path. We’re all just lined up on this road somewhere and trying to navigate ourselves through this process.” The European system of cultivation allows young music directors many opportunities to practice their craft in orchestras and small opera houses, Dean Bronstein says. “In America, there’s no real way to move up the ranks. There’s not really a path in place that says, ‘You’re going to move from here to there, and then to here — and then to there.’” As Maestra Alsop updates Peabody’s graduate program, she is scheduling more concerts for her students with various conservatory orchestras and providing more opportunities to improve “off the podium” skills, such as applying for jobs and conducting interviews with the media. And then, she adds, there are the intangibles: “It’s also important to know, ‘How do you become a good citizen in your community? How do you become a good leader?’” Peabody conducting students might give a number of answers. While Ms. Chen, the child of a clarinet player in the Shanghai Opera House, began playing piano in China at the age of 2½, Mr. Huynh’s father was a Vietnamese refugee who settled in Montgomery, Ala. With no music at home, Mr. Huynh stumbled upon his abilities when he joined his middle school band. Determined to become a high school band leader — his instrument was the euphonium — he got his first exposure to classical music at the University of Alabama, where he also took his first conducting lessons. A master class and workshop with Gustav Meier brought him to graduate school at Peabody.
Tong Chen is the first female music director of the Yonkers Philharmonic Orchestra.
Mr. Huynh’s position with the Oregon Symphony includes participating in community engagement programs. It was an ability he began developing at Peabody as a co-founder of the Occasional Symphony, a group that performs orchestral music on unusual occasions in nontraditional spaces: a Dr. Seuss birthday concert at Port Discovery Children’s Museum, a Halloween concert to accompany a silent film in an abandoned church. His subsequent job as assistant conductor and community liaison at the Portland Symphony Orchestra in Maine was appealing to the Oregon search committee. “In the past, the only outreach we [symphony orchestras] did was educating the young people,” he says. “Now that we recognize the gaps that exist in our audience, we’re looking to be accessible to people under 40 and to those from different socioeconomic backgrounds.” Cultural diversity helps create the richest musical experience possible for those who provide it and those who consume it, says Mr. Farias, who directs the Joliet Symphony Orchestra in addition to his conducting studies at Peabody. “I think the ultimate goal of the orchestra, and of the community, is to actually listen to each other’s life stories,” he says. “When you have people with different backgrounds and different ideas in the orchestra, the conductor’s job is to enable everyone, musicians and audiences, to be open and receptive to one another when creating something meaningful together. I think there’s nothing more important, nothing more interesting, than that.”
Watch Marin Alsop’s speech at the Last Night of the Proms 2013 : goo.gl/WIYMfX
Norman Hunyh, now associate conductor of the Oregon Symphony, cofounded the Occasional Symphony during his time at Peabody.
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Alumni Dear Alumni and Friends of Peabody: I am excited to be the incoming president of the Society of Peabody Alumni and, as a 2005 graduate, I am not so far removed from my time as a student. I remember both my successes and frustrations and those of my friends and colleagues, and know that many classes before me pushed for new ways of doing things, and new processes and procedures. I am thrilled to see Peabody taking innovative strategic initiatives not just in the trajectory of the music education of our students, but also in its curricular and community needs. I look forward to hearing the results of the task forces, and to seeing the implementation of their recommendations and how these changes impact our students, the music industry, and our communities. I also want to share with you what Peabody has meant to me in my everyday life. All musicians, amateur and professional, know that their dedication to their study has meant a more focused career and the ability to perform well both on a team and as a soloist to overcome challenges. I am an arts administrator rather than a performer, so I know the importance of having an arts background. We wouldn’t have institutions like Peabody if it weren’t for the doctors, lawyers, accountants, school administrators, teachers, custodians, construction workers, and many others who prepare the concert hall, attend concerts, make donations, volunteer in a myriad of ways, and expose their children to the arts. Peabody furthered my appreciation for and understanding of music, sure, but it also established and allowed to flourish my ability to communicate, both verbally and nonverbally. This is by far the single skill that I must use every day with the goal of achieving results. Alums, please visit. At the very least, connect through Peabody’s alumni map and the Johns Hopkins-wide GoHopOnline.com. We are eager to hear from you, about family, work, and play; births, weddings, and, sadly, funerals. Campus is always open if you’re in the area! Please see the schedule for Homecoming 2017 (April 21–23), celebrating the 25th (1992 and 1993), 40th (1976 and 1977), and 50th (1966 and 1967) reunion classes. Of course, all alumni are welcome and encouraged to attend! We’d love to see you there. If you haven’t been back in a while, rest assured that Peabody is still Peabody. The artistry for which Peabody is known remains on display year-round through faculty and student concerts and degree recitals. And the students are absolutely amazing! Dean Bronstein and his executive leadership team continue striving for excellence, and I am thrilled to be a part of the next two academic years. Warmly, Elizabeth Berman (BM ’05, Oboe; KSAS BA ’05, Romance Languages)
Mark your calendars — Reunion Weekend is FRIDAY, APRIL 21, through SUNDAY, APRIL 23. Highlights will include: Friday, April 21 Peabody Concert Orchestra, Peabody Singers, and PeabodyHopkins Chorus concert with Ed Polochick (MM ’78, Piano; MM ’78, Choral Conducting) conducting, with a special presentation of the Johns Hopkins University Heritage Award to Phyllis Bryn-Julson and Donald Sutherland, and a postconcert reception in their honor. Saturday, April 22 Reunion lunch at the Engineer’s Club, with special presentations of the Peabody Distinguished Alumni Award to James Scott (MM ’66, DMA ’73, Flute; MM ’66, Piano) and the Johns Hopkins University Heritage Award to Carol Cannon (BM ’67, Voice). There will also be an invitation to all members of classes ending in 2, 3, 6, or 7 to share a memory from the podium. Sunday, April 23 Brunch in the George Peabody Library, with special presentations of the Peabody Alumni Achievement Award Recognizing Outstanding Contributions to Music in Maryland to Ron Gretz (BM ’66, Voice; MM ’68, Choral Conducting) and Jason Love (BM ’92, Cello; MM ’94, Conducting). More information will be sent soon. Please contact the Alumni Office if you have any questions or if you need to update your address information: 667-208-6558 or PeabodyAlumni@jhu.edu. PEABODY FALL 2016
CL A SS N OTES 1960 José Aldaz (’64, Piano), a Steinway artist, continues to perform, lecture, and advocate the teaching of the art of piano playing. In October, Sergio Cervetti (BM ’67, Composition) will release a CD of new works that was recorded in Havana, Cuba. This CD, Intersections, features And The Huddled Masses for clarinet quintet, which speaks to the legacy of immigration from Central and South America to the United States. Mr. Cervetti immigrated to America from Uruguay in 1962.
1 9 70 Recent premieres by Thomas L. Read (DMA ’71, Violin) include Late and Soon, a cycle of six climate choruses commissioned and taken on tour by Social Band of Vermont; Concert Champetre for guitar and cello, which received multiple performances by its dedicatee, Aaron Larget-Caplan, in St. Petersburg, Moscow, Boston, Vermont, and New Hampshire; and The Then and The Now, a nocturne for ﬁve players, which was premiered in February by the Vermont Contemporary Music Ensemble.
1980 The Glickman Ensemble, a bassoon quartet featuring Lisa Alexander (BM ’85, Music Education; PC ’85, Bassoon; ENGR MS ’88, Computer Science), has three CDs out: The Enchanted Bassoon, Cantilena, and Bailas, with music ranging from Bach to Villa Lobos.
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Maria Flurry (BM ’87,
Percussion, Music Education) recently returned to private teaching and continues to perform recitals with her composer/pianist husband, Henry Flurry. She serves as principal percussionist of the Flagstaff Symphony and as interim timpanist for the 2016–17 season.
Sue Neff (MM ’89, Oboe), co-principal oboe/English horn with the Piedmont Symphony Orchestra, performed two concerts at the 2016 Shenandoah Valley Music Festival in Orkney Springs, Va. Ms. Neff is the double reed clinician in Breckenridge, Colo., for the Music at the Summit Adult Band Institute.
199 0 Katherine Calvey (BM
’91, Flute) was guest conductor for the international cultural festival in celebration of 439th anniversary of the city of Saltillo, Mexico. In June, she was the guest soloist with the Sonora Philharmonic Orchestra and played principal flute with the Coahuila State Chamber Orchestra as they accompanied a concert by soprano Renée Fleming. In October, she will perform in the Cervatino Music Festival in Guanajuanto, Mexico.
Patrick Hawkins (BM ’92,
Organ) was a featured piano recitalist and lecturer at the first International Conference on Muzio Clementi at the University of Barcelona on July 2. Dr. Hawkins is currently the co-chair for the 2017 Historic Keyboard Society of North America conference, which will be held in Greenville, S.C.
Kendall Kennison (DMA ’96, Composition) was promoted to full professor at Goucher College in Baltimore.
In July, Julian Gargiulo (MM ’97, Piano) performed in Australia in Perth and at the Noosa Festival.
Inna Faliks (BM ’99, MM ’01,
GPD ’03, Piano) has been promoted to full professor at UCLA’s Herb Alpert School of Music, where she is also head of the piano area, and she founded and serves as artistic director of the new Abell UCLA Piano Masters Series. Last season included performances with the Vallejo Symphony and the Evanston Symphony, a debut at Mexico’s Festival Internacional de Piano, the world premiere of a concerto by Frank Levy with Olympia Philharmonic Society in Los Angeles, and chamber music at the Broad Stage in Santa Monica. This summer, Ms. Faliks performed at the Newport Music Festival in Rhode Island, the Wintergreen Summer Music Festival in Virginia, and at the Music Fest Perugia in Italy.
Pamela Hay (BM ’99,
MM ’00, Voice) appeared at London’s Hippodrome in a concert of West End soloists for a charity gala in support of AIDS research. She previously played Mimi in the Soho Theatre’s production of La Bohème, which won Best Opera at the Olivier Awards.
20 0 0 Daniel Schlosberg (BM ’00, MM ’01, Piano; KSAS BA ’00, History) was featured on the Chicago Symphony Orchestra’s website. He performed in the final concert of the CSO’s 2015– 16 All-Access chamber music series. Mr. Schlosberg also teamed with the Chicago-based Spektral Quartet for a performance of Robert Schumann’s Piano Quintet in July.
Oscar Bustillo (GPD ’02, Conducting) continues to conduct and is also composing and teaching college music theory at Miami Dade College. His music has been played on WLRN in Miami and at the Perez Art Museum Miami, as well as other venues with Florida International University’s Amernet String Quartet and HoBuCo, a new group that pairs fairytales with classical music. Erik Meyer (BM ’02, MM ’04,
Organ) won the 2015 Twin Cities American Guild of Organists composition competition with Lydian Suite for flute and organ, the Presbyterian Association of Musicians 2015 composition competition with his anthem Praise, and the FredBrass 2016 composition competition for his Philadelphia Overture for band. He also started a blog, fineartoflistening.com, which seeks to introduce art music to new audiences through short, often humorous, posts.
Kris Chadderton Faatz (MM ’04, Piano Pedagogy) will release her music-inspired first novel, To Love a Stranger, next June from Blue Moon Publishers in Toronto.
Members of Rhymes With Opera — Ruby Fulton (DMA ’09, Composition), Elisabeth Halliday-Quan (’07, Voice; KSAS BA ’07, German), George Lam (MM ’05, Music Theory, Composition), and Robert Maril (MM ’04, Voice) — appeared on the cover of the August issue of Opera News and were featured in a story titled “Indies Ascending” about the group’s entrepreneurial spirit and fresh approaches in the New York opera scene.
Gwendolyn Fisher (BM
’05, Viola) won the position of assistant principal viola of Royal Liverpool Philharmonic Orchestra.
Doing the ‘Cello-Actress Thing’ … and More Given her first name, it’s no surprise that cellist Melody Giron was born into a musical family. Her mother felt strongly that her children should play instruments, so she enrolled all five of them in the New England Conservatory of Music’s preparatory school. Ms. Giron began studying piano at age 4, but she became enamored of the cello two years later, when she heard pianist Emanuel Ax and cellist Yo-Yo Ma perform Brahms’ Cello Sonata No. 1 in E minor. “I just remember immediately falling in love with the sound of the cello,” she says. Since earning her master’s degree in cello performance from Peabody in 2014, Ms. Giron, 26, has been building her resume with teaching, recording session work, and chamber and orchestral gigs at such acclaimed venues as Carnegie Hall, Radio City Music Hall, and Madison Square Garden. She has performed with pop artist Stevie Wonder, the new music ensemble Holographic, and in the Amazon TV series Mozart in the Jungle. From her home base in New York City, Ms. Giron has seen her career expand in directions she never anticipated. This past spring, she performed as the musician in an off-Broadway run of Edward Albee’s The Sandbox at Signature Theatre Company. “That experience was absolutely life-changing, incredible,” she says. “I really felt so honored to be among these actors and to have that experience as a cellist, but also taking on this other role of actor.” That opportunity opened up a whole new avenue of performing for her, and she was recently cast in a car commercial — that’s right, playing her cello. “It’s cool! I feel excited about this whole ‘cello-actress’ thing,” says Ms. Giron. Because teaching is often an important source of income for professional musicians, Ms. Giron decided to take that role seriously. With the understanding that
The Corvus Ensemble with Faye Chiao (MM ’07, DMA ’16, Composition), voice, and Stefan Petrov (BM ’06, MM ’08, DMA ’16 Piano; MM ’16, Music Theory Pedagogy) performed at this year’s Artscape in Baltimore. The program, on the festival theme of space, featured songs from Dr. Chiao’s To See the Stars, as well as works by Beethoven, Brahms, and Piazzolla.
Andrew Arceci (BM ’08, Double Bass, Viola da Gamba)
is the director of the Winchendon Music Festival in Massachusetts, where he was featured with Teresa Wakim in a concert of works by Marais, Forqueary, Francœur, and others; and with FLOYDS ROW and Emily Noël (MM ’06, Voice).
Annie Phillips (BM ’08,
Clarinet) accepted the position of assistant director of entrepreneurial musicianship at the New England
being an accomplished performer does not necessarily make one a competent teacher, she recently completed two years of Suzuki teacher training at the School for Strings in New York. “It’s really important for us as musicians to provide quality teaching. I really feel that teaching is an art in itself, apart from performing,” says Ms. Giron. “I knew that having some pedagogical training would enhance my teaching.” Ms. Giron has not yet hired an agent or a manager, but she is clearly figuring out how to find work and network within the artistic community. “New York is an incredibly tough city to be freelancing in because there’s so much talent. The competition is fierce, so you’ve got to get your name out there. I have worked very hard,” she says, “but what I’ve found most important is to be humble and kind.” —— Christine Stutz
Conservatory. She also co-directs Switchboard Music, which was the only West Coast organization to win an ASCAP/ CMA award for adventurous programming last year. Outcalls — a band including Britt Olsen-Ecker (BM ’09, Voice), Melissa Wimbish (GPD ’11, Voice; GPD ’14, Chamber Music), and Nathan Royer (MM ’07, Euphonium) — won the $2,500 Merit Award at WTMD Radio
89.7’s Annual Block Party in May. It needed to be one of the top 10 fundraisers of the station in order to participate.
2010 Soprano Maggie Finnegan (MM ’10, Voice) won the first place prize of $10,000, as well as the audience prize for $1,000, in the Friday Morning Music Club’s Washington PEABODY FALL 2016
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In Memory of Gregg Smith Former Peabody choral faculty member Gregg Smith died July 12, 2016, in New York. He will long be remembered for dedicating his life to the performance of American choral music. As director of the Peabody Conservatory Concert Singers from 1969 to 1975, he focused on introducing students to American music from the past to the present. From the Ainsworth and Bay Psalters and William Billings to Charles Ives and Arnold Schoenberg, Mr. Smith brought a broad range of musical literature to his students. He stretched the repertoire to include pieces not traditionally common among choral groups. He is probably best known for founding the Gregg Smith Singers in 1955, a professional choral group that championed works of contemporary American composers over the years. Former student John Cice (BM ’74, Piano; BM ’74, Music Education) said: “Gregg Smith was a mentor to many, bringing out the best in those who worked with him and recognizing one’s talents. He brought so much joy and sheer fun to music making!” Mr. Smith was also a prolific composer, writing more than 400 works for chorus, orchestra, and chamber ensembles. One of his compositions, Steps, was performed by David Starobin (BM ’73, Guitar) and recorded by Bridge Records. Mr. Starobin said: “What a role model Gregg was! In addition to his spectacular musicianship, Gregg championed the composers of his time, forming his own record label, commissioning new repertoire, and adopting an entrepreneurial approach to the music business that was brave, committed, and driven by a burning desire to make things happen.” To those of us who had the pleasure to work with him, we will always be indebted for the gifts he gave us. —— Christine Rutt Schmitz (BM ’75, Voice)
International Competition for Voice, held in June at the Kennedy Center. Ms. Finnegan was accompanied by Hui-Chuan Chen (MM ’06, DMA ’14, Piano). Soprano Christine Lyons (MM ’16, Voice) was one of six finalists, and the semifinalists included Madelyn Wanner (BM ’09, Voice), Kate Jackman (MM ’11, Voice), and GPD student Zoe Band (BM ’12, MM ’14, Voice). As part of the award, Ms. Finnegan will appear as a soloist in three concerts, with one performance at the Kennedy Center.
(DMA ’11, Composition) had her Symphony No. 1 for Symphonic Band recorded for Naxos by the Banda Municipal of Barcelona, led by Maestro Salvador Brotons. In April, Accents Catalans was premiered by the Bucheon Philharmonic at the Seoul Arts Center Orchestra Festival. Her new work, Blue and Black for piano quartet, will be premiered by the South Korean group Ensemble La Mer et L’îlle on October 2 at Singapore Esplanade Recital Hall, and performed at the Concourse in Chatswood in Sydney, Australia, on October
15 and Hong Kong Academy for the Performing Arts on November 27. Blue and Black is written as an homage to Dokdo Island and the East Sea, and is based on Korean folk music. Dr. Fábregas is currently a visiting professor of music at Kyung-Hee University Humanitas College in Seoul.
Gemma New (MM ’11,
Conducting) has been appointed the resident conductor of the St. Louis Symphony. She will continue to be music director for the Hamilton Philharmonic Orchestra in Ontario, Canada, and associate conductor for the New Jersey Symphony Orchestra. She is also founder and director of the Lunar Ensemble, a contemporary music collective in Baltimore.
Nicholas Will (MM ’11,
Organ) released his debut recording, Laudato Si: In the Spirit of St. Francis of Assisi. The recording is composed of settings of texts by or attributed to St. Francis and his disciples, and it has received critical acclaim from Fanfare magazine and the World Music Report.
In Memoriam Kathryn Johnson Sliger (BM ’46, Music Education) Leigh Martinet (TC ’46, Music Education: French Horn; DMA ’66, Conducting) Nancy Maratta Brown (BM ’51, Music Education) Reynaldo Reyes (MM ’60, AD ’60, Piano) Sara Marvin Stites (BM ’61, Music Education: Voice) Charles Ellis (DMA ’91, Conducting) Mark Allen McCoy (’95, Conducting) Lloyd Arriola (BM ’94, Piano) Katherine Keem (GPD ’00, Opera)
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On September 25, Vocal Arts DC will present a private salon concert given by soprano Melissa Wimbish (GPD ’11, Voice; GPD ’14, Chamber Music) with pianist Ta-Wei Tsai (BM ’11, MM ’13, Piano).
Travis Baird (MM ’12, Viola)
launched dynamicmusicteacher.com, an online resource for music teachers and performers featuring research-based, actionable tools for musician wellness, performance preparation, and teaching innovation.
(MM ’12, Composition) was one of 12 composers selected for the first International ilSuono Academy for Young Composers. Presented by the Italian contemporary music ensemble Ensemble Suono Giallo and Greek composer Theocharis Papatrechas, the academy took place in Città di Castello, Italy, in July.
Mark G. Meadows (KSAS BA ’11, Psychology; GPD ’13, Jazz Piano) performed works from his third album, To the People, at Baltimore’s Creative Alliance in July. He and his band The Movement were one of three finalists competing for a $15,000 prize and a year’s worth of promotion in association with the DC Jazz Festival William Neri (BM ’13, Viola) was featured in the Aspen Music Festival and School program’s student spotlight. Mr. Neri is in his fourth summer studying at the AMFS, where he’s a recipient of a Vincent Wilkinson Scholarship.
Jennifer Nicole Campbell (BM ’14, MM ’15,
Piano) released the first episode of her new video series, Music Musings. The series is featured by the newly founded arts organization the Delco Culture Vultures. The first episode
examines Debussy’s Clair de Lune. Philadelphia radio station WRTI aired Ms. Campbell’s debut CD album, Perceptions of Shadows, on its Classical New Releases show in June.
Michael Delfín (BM ’14, Piano; KSAS BA ’14, History) presented a recital and master class at the Intermuse International Music Institute and Festival in Emmitsburg, Md., as a visiting artist in July.
program Harp Wise. The program was designed to address medical issues facing the elderly through a concert series and group harp lessons, and is designed to be administered at a low cost with the support of health insurance subsidies. Ms. Houng is a graduate of the Global Leaders Program of Youth Orchestras of the Americas. Countertenor Daniel Moody (BM ’14, Voice) per-
Soprano Kerry Holahan (MM ’14, Early Music: Voice) was a featured soloist in the American Bach Soloists Festival performance of Bach’s B Minor Mass in Augustin San Francisco.
formed the American premiere of Dream of the Song by George Benjamin with the Lorelei Ensemble and the Tanglewood Music Center Orchestra at the final concert of the Festival of Contemporary Music.
Peggy Houng (BM ’14, Harp;
Heidi Bauer (BM ’15, Cello) played on 14 different cellos when she went on a 14-city concert tour of China with the Denver Philharmonic Orchestra in June and July.
KSAS BA ’14, Cognitive Science) was a winner of the Hildegard Behrens Foundation 2016 Global Humanitarian Entrepreneur Award for her
Mika Sasaki (BM ’12, MM ’13, Piano) has started a two-year fellowship with Ensemble ACJW, a program of Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education. She has also joined the faculty of the Juilliard Evening Division to teach piano and keyboard skills. This summer, she taught and performed as an artist in residence at pianoSonoma, appearing in concerts at the Green Music Center at Sonoma State University, Calif. Peabody string alumni, led by Kyung Ri Kim (GPD ’13, Chamber Music; GPD ’14, Violin), performed their annual summer concert on July 23 in Seoul. Longtime staff members Betsy Nelson and David Lane (BM ’67, Music Education), at a staff retirement celebration on May 11, retired from the Admissions Office on June 30. With a combined service of over 70 years, they played a large role in the lives of many hundreds of Peabody students. PEABODY FALL 2016
CL A SS N OTES In July, Jarrett Gilgore (BM ’15, Jazz Saxophone) toured in the Northeast as the drummer with a band called Purrer, which includes Jon Birkholz (BM ’07, Jazz Piano) on bass and Amanda Glasser (KSAS BA ’11, Cognitive Science) on guitar and vocals.
Ben LaPrairie (MM ’16,
Mary of the Immaculate Conception Catholic Church in Fredericksburg, Va. In July, he performed at the St. Stanislaus Catholic Church in Bay City, Mich., and the Basilica of the National Shrine of the Immaculate Conception in Washington, D.C.
Organ) presented several recitals of works by Bach, Reger, Near, Vierne, Widor, and Lento. In May, he performed at the Immaculate Conception Catholic Church in La Grange, Ky.; Washington National Cathedral in Washington, D.C.; and St.
ENGR – Johns Hopkins University, Whiting School of Engineering KSAS – Johns Hopkins University, Zanvyl Krieger School of Arts & Sciences
Please send us your news Alumni Office 1 East Mount Vernon Place Baltimore, MD 21202 PeabodyAlumni@jhu.edu
Heart, Soul — and Adaptability Thirty years after fully committing himself to producing music from his heart and soul, Paul Avgerinos (BM ’81, Double Bass) found himself onstage at the 2016 Grammy Awards, being honored for Best New Age Album for his record Grace. “It was so awesome. I was just floating on air,” says Mr. Avgerinos, 58. “There was so much love and support for the work that I’m doing.” Mr. Avgerinos, who studied double bass at Peabody, dabbled in ambient music in his 20s while he explored other genres, such as classical and jazz. As his spiritual life began to awaken, he says, he became more passionate about making music that reflected his inner life. By 1987, his music career had evolved such that, he says, “I realized I needed to build a recording studio.” Over the next decade, he made that dream a reality in his Redding, Conn., home as he created Studio Unicorn. During that time, he was beginning to release his New Age recordings on small labels, and eventually on his own label. “It helped tremendously that the genre was exploding,” he says, with artists like Enya and fellow Peabody alumnus Michael Hedges (BM ’80, Composition) — who Mr. Avgerinos says was a big inspiration to him — selling a lot of records. Mr. Avgerinos was also fortunate enough to get airplay on syndicated public radio programs like Echoes and Hearts of Space, which featured ambient and New Age artists. He now has 25 studio albums in his catalog and a 2014 Grammy nomination, in addition to the recent win. Mr. Avgerinos’ 35-year career has been marked by an intense desire to make his living as a musician and a willingness to be flexible, creative, and pragmatic in figuring out how to do so. “When I was at Peabody, I was so passionate,” he says. “When I graduated, I just wanted to be principal bassist at a major philharmonic. And at age 22, I had that job, with the Hong Kong Symphony Orchestra.” But he felt he would eventually become bored with that life, he says, so he diversified. “I played jazz, classical, whatever gigs I could get. I just wanted to be in music,” 36
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he says. He has performed with the Beaux Arts Trio, Isaac Stern, and Buddy Rich, among other greats. As part of his studio operation, Mr. Avgerinos maintains a library of music selections for TV and movie soundtracks. His company has provided music for the Super Bowl, NBA games, TV series, and feature films. “In the old days, shows would hire composers. This is how it’s done now,” he says. “Even big-budget shows will use library music, and yet it sounds like custom scoring.” He also produces audiobooks from his studio. “It’s all about adaptability. You’ve got to learn a new way,” he says. “My mantra of how to function in the music business is to be as adaptable and flexible as I can.” —— Christine Stutz
Watch Mr. Avgerinos’ Grammy acceptance speech: goo.gl/c3pvux
On June 10, Christine Schmitz (BM ’75, Voice) and Dean Fred Bronstein presented Mark Paris (BM ’84, Voice) with the Johns Hopkins University Alumni Association Heritage Award in honor of his contribution of outstanding service to the progress of the university and to Peabody through his service as chair of the Peabody National Advisory Council.
Gift to Build Diversity Rheda Becker and Bob Meyerhoff have made a generous gift of $500,000 to the Peabody Institute supporting initiatives to build diversity in the institute’s student body, faculty, and staff. Their gift allows the institute to work on this important issue in a variety of ways, all focused on reaching underrepresented populations and talent regardless of socioeconomic level and opportunity. The following gives some idea of the breadth of needs that this diversity fund will help support: • Conducting scholarship for students from underrepresented populations • Full-tuition scholarships for students from OrchKids to attend the Peabody Preparatory • Support for Baltimore Scholars from underrepresented minorities at the Peabody Conservatory
• Recruitment of Peabody faculty from underrepresented minorities, which may include distinguished visiting artist appointments, guest lecturers, residencies, and master classes • Scholarship support to aid in the recruitment of an increasingly diverse Conservatory student population
Integral to Ms. Becker and Mr. Meyerhoff’s generous commitment is Peabody’s pledge to match this gift by raising additional resources for diversity initiatives at Peabody. Join us to build diversity throughout the institute by contributing today. PEABODY FALL 2016
A Life of Music A bequest to establish an endowed scholarship fund specifically for cello students has been pledged by alumna Janet Rayburn Greive (BM ’62, MM ’63, Cello) and her husband, Tyrone Greive. Ms. Greive, a cellist who has spent her entire career teaching music and performing in a variety of chamber and orchestral groups, says she also intends to donate her instrument to Peabody, so that students will continue to play and enjoy it. “It’s an English cello,” she says, “made by noted instrument maker William Forster in the 1780s.” Sadly, due to arthritis, Ms. Greive says, she can’t play anymore. Her husband, a University of Wisconsin-Madison emeritus violin professor and retired concertmaster of the Madison Symphony Orchestra, notes: “Having good instruments is a responsibility because they’re not yours. They belong to posterity.” The Greives, who do not have children, say they wanted to divide their estate among the educational
institutions that established the foundations for their musical careers. Although a native of South Dakota, Ms. Greive chose to come east and attend the Peabody Conservatory, the only music school to which she applied. She completed both her undergraduate and graduate degrees on full scholarship. “I did not put out a single penny for my tuition,” she says. “We just felt it was the right thing to do, especially in this day and age, with the costs of education,” she continues. “I was helped out so much with my education. I wouldn’t feel right not giving back.” Ms. Greive says she has watched Peabody grow from a small but formidable institution to something even more impressive. “I can see that the quality is very high,” she says. She recalls how the cultural life of Baltimore enriched her musical education, apart from her studies at Peabody. “I had a very fine experience at Peabody, and in Baltimore,”
Peabody’s annual Leadership Luncheon took place on May 16. Chung-Kotcheff Family Scholarship recipient Marilyn Iparraguirre (BM ’16, Tuba) spoke to the donors gathered about the impact a scholarship had on her life.
"It takes a very special kind of person to see how one special gift could change a person’s life. Because of people like you here today, students around the nation are able to give themselves the courage to make their dreams a reality." — Marilyn Iparraguirre
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she says. “A lot of my education I obtained just in the community itself. I was open to almost everything, since it was all new to me.” Having grown up in a musical home and attended Interlochen Summer Arts Camp as a young adult, Ms. Greive has been immersed in music almost as far back as she can remember. “We have lived our whole lives in music,” says Mr. Greive. “We have always played music together, whether as a duo, in a trio, chamber groups, or orchestras.” The couple, married for 48 years, retired from the Madison Symphony in 2010; Ms. Greive, like her husband, had played with the group since 1979. Leaving their estate to the institutions where they received their training just makes sense, according to Mr. Greive. “Janet had a variety of cello teachers at Peabody, and they were all terrific,” he says. “She got a well-rounded and yet very much in-depth education there.” —— Christine Stutz
A Defining Experience When Taylor Hanex takes the reins of the Peabody Institute’s advisory board this fall, there will be no learning curve. A longtime Peabody board member and Johns Hopkins University trustee, Ms. Hanex is poised to tackle an ambitious agenda. “This is the most exciting time to be at Peabody. We can accomplish so much with our strong, creative leadership team and our focused, enthusiastic advisory board,” says Ms. Hanex (BM ’75, MM ’78, Piano). As she rattles off a lengthy list of projects and programs about which she is excited, it’s clear that her Peabody work is one of her top priorities. Ms. Hanex’s passion for Peabody began as a teenager, when her father drove her to Baltimore on Saturdays from their home in Springfield, Va., so she could study piano at the Peabody Preparatory. She then went on to attend the Peabody Conservatory for her undergraduate and graduate degrees in piano performance. She later earned an MBA from Fordham University and is now a senior vice president and wealth manager with Merrill Lynch. “My feeling is that Peabody saved my life,” she says. “I was a shy, awkward kid, and Peabody was a life-changing experience for me — defining me as a person and giving me an identity and direction.
“This is the most exciting time to be at Peabody,” says Taylor Hanex, new head of Peabody’s advisory board.
“Music gets us in touch with our higher selves, and through music we learn to communicate and listen, open our minds and hearts, and see things from a different angle. It helps us get in touch with who we are. If I hadn’t had Peabody, I don’t know what I would have done.” One of Ms. Hanex’s goals is to use her position on the Johns Hopkins University board of trustees to encourage more awareness of the exciting things happening at Peabody and gain additional support for them.
“Peabody’s collaboration with the other Hopkins schools, such as the School of Medicine, provides a true competitive edge for Peabody,” she says. She cites research projects in areas such as musician wellness, therapeutic and palliative uses of music to treat disease, the impact of music lessons on Parkinson’s patients, and creative brain activity as examples of this important interdisciplinary work. “Taylor is such a natural fit for leadership of Peabody Institute’s advisory board,” says Mark Paris (BM ’84, Voice), outgoing chair of the board. “Taylor will not sit back and simply bang the gavel. She is focused on Peabody’s vision and direction. She loves these hallowed halls and echoes from our time as students. Like all of us on the advisory board, we are proud of where Peabody has been and is, and we are doubly excited about where we are going.” Ms. Hanex says she will charge her board members with enthusiastically supporting Peabody’s new vision and spreading the word on the many current projects that will excite new donors whose passions align with Peabody’s. “I have a passion for seeing how Peabody changes lives,” she says. “And hopefully, in the coming years, we on the board will watch as Peabody saves more lives.” —— Christine Stutz
Rising to the Challenge Campaign Update for Peabody Goals TOTAL RAISED BY PEABODY THROUGH AUGUST 31, 2016: $42.1 MILLION
PROGRAM SUPPORT (39%)
FACULTY SUPPORT (2%)
SCHOLARSHIP SUPPORT (59%)
ALLOCATION OF $42.1 MILLION RAISED TO DATE PEABODY FALL 2016
George Peabody Society We recognize those philanthropic visionaries whose lifetime cumulative giving has matched or exceeded George Peabodyâ€™s founding gift of $1.4 million. Their generosity has expanded and transformed the Peabody Institute of the Johns Hopkins University. The names are ordered by the date when they joined this elite group of donors. Wendy G. Griswold and Benjamin H. Griswold IV Elizabeth J. and Richard W. Case Florence H. and Charles R. Austrian Michael R. Bloomberg Anonymous Tristan W. Rhodes
George Peabody Sidney M. Friedberg Charitable Trust The Blaustein-RosenbergThalheimer Philanthropic Group Eric and Edith Friedheim Loretta Ver Valen Arabella Leith Symington Griswold
Hilda P. and Douglas S. Goodwin Claire S. and Allan D. Jensen Marc von May Thomas H. Powell Anonymous John L. Due Taylor A. Hanex Rheda Becker and Robert E. Meyerhoff
Laifun Chung and Ted Kotcheff Sandra Levi Gerstung and the Levi Family Fund II of the Baltimore Community Foundation
Legacy Society The Legacy Society consists of individuals who have made a provision in their estate plan for the Peabody Institute in the form of a bequest, a life income gift, or a trust arrangement, thus becoming a part of the Peabody legacy â€” and a part of its future. Anonymous (6) Marilyn Abato Sallie M. Albright Frances K. and George Alderson
Elana R. and Joe * Byrd John F. Cahill Carol Cannon Josepha Caraher Kathryn Chilcote
Anne-Truax Darlington Andrews and Beverly Kinsman Eanes
Anne-Truax Darlington Andrews Estate of Robert Austrian Herman C. Bainder * Wilmot C. Ball Jr. * Mary B. Barto Meta Packard Barton * Mary Lou Bauer Catherine H. Beauchamp Lisa D. Bertani Dorothy and Wakeman S. Bevard Jr. Edith Blum * Alma T. Bond Esther B. Bonnet Tammy Bormann and Mark Paris Barbara and Thomas Bozzuto Elizabeth Bryan * Sophia A. Burkey * Laura R. Burrows Jean Burton
Laifun Chung and Ted Kotcheff The Estate of Virginia C. Cochran * Margaret H. Cooke * David Dasch Deborah Davis Doris and Richard Davis Jane E. Donato Miriam B. Dorf Ronya Driscoll John L. Due Elayne Duke Jane R. Dummer Phillip T. Dunk Jr. Beverly Kinsman Eanes and Edward Eanes Tinka Knopf de Esteban Ruth L. Fisher Stephen W. Fisher Leon Fleisher E. Carl Freeman Jr. Owen B. Fuqua Jr.
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Sandra Levi Gerstung Hilda Perl Goodwin Basil Gordon * Daniel M. Graham Nancy and Louis Grasmick Janet Rayburn Greive and Tyrone Don Greive Beatrice C. and Frederick N. Griffith Leith Symington Griswold * Wendy Goodyear Griswold and Benjamin H. Griswold IV Taylor A. Hanex The Estate of William Sebastian Hart Lynn Taylor Hebden * Wilda M. Heiss David Wayne Helsley * Alice Eccleston Hill Jeanie A. Hillman-Brotman Reginald D. Hobbs Jr. Christina Holzapfel and William Bradshaw Amy Elizabeth Hutchens Ludmilla Ilieva Helen J. Iliff * Claire S. and Allan D. Jensen Laima Kallas Thomas Kaurich Dale Kellenberger Harriet Kessler Galan Kral Thomas P. Lake Trust * John Larner Marjorie G. Liss H. Bruce McEver John R. Merrill Suzanna N. Miller * Jill E. McGovern and Steven Muller *
Glenn E. Mortimore * Martha K. Nelson Dorothy L. Rosenthal and William A. Nerenberg Nancy W. and William * Nicholls Michele Parisi Claude and David Paulsen Alan J. Pearlmutter Scott Pender Anthony Piccolo Beth G. Pierce * Thomas H. Powell Joan M. Pristas *
Robert W. Smith Jr. Hardwick R. Spencer Beatrice E. Stanley Dorothy Fahey Stanley * Carroll F. Stewart Walter C. Summer Phyllis Bryn-Julson and Donald S. Sutherland Leo B. and Ruth A. Swinderman * Carol and Roy R. Thomas Francis H. Thomas * Marc von May Robert W. Wagner
Charles Emerson Walker and Jacob Bowman
Virginia M. Reinecke Tristan W. Rhodes and Daniel Kuc Howard Rosenfeld Winifred Ross Doris Rothenberg Joseph Russ * Suzanne J. Schlenger Christine Rutt Schmitz Karen A. Schwartzman Carol Scruggs Carolyn J. and Mark J. * Sienkiewicz Arlene and Len Singer
Charles Emerson Walker Mary C. Walker * Carol Schultz Weinhofer Deloris Elinor Wilkes-Williams and Neville Williams Charlotte L. and Bruce M. Williams Peter J. Wolf Robert M. Worsfold Phyllis A. Zheutlin Carrie May Kurrelmeyer Zintl Trust * Deceased
The 2015–16 Friedberg Society This society is named in honor of Sidney and Miriam Friedberg, whose generosity launched a new era of philanthropic leadership at the Peabody Institute. Friedberg Society donors sustain and enhance Peabody by giving $1,000 or more over the course of a fiscal year. The donors listed below have made outright gifts or pledges at the Friedberg Society level between July 1, 2015, and June 30, 2016. CHAIRMAN’S CIRCLE $100,000 AND ABOVE Adalman-Goodwin Foundation Anonymous Robert Austrian * Meta Packard Barton * Ruth and Ted Bauer Family Foundation Rheda Becker and Robert E. Meyerhoff France-Merrick Foundation Sandra Levi Gerstung and the Levi Family Fund II of the Baltimore Community Foundation Hilda P. and Douglas S. * Goodwin Janet Rayburn Greive and Tyrone Greive Wendy G. Griswold and Benjamin H. Griswold IV Hecht-Levi Foundation Claire S. and Allan D. Jensen Evelyn Johnson Charitable Foundation Jill E. McGovern Glenn E. Mortimore * + Dorothy and Louis Pollack Julie A. Walters and Samuel G. Rose
COMPOSER’S CIRCLE $50,000 - $99,999 Anonymous Liza Bailey and Michael Musgrave Herman C. Bainder * Brookby Foundation Jane W. I. and Larry D. Droppa Fred and Sandra Hittman Philanthropic Fund Helen J. Iliff * Beth G. Pierce * Howard and Geraldine Polinger Family Foundation Thomas H. Powell Henry and Ruth Blaustein Rosenberg Foundation
MAESTRO’S CIRCLE $25,000 - $49,000 Anonymous Barbara and Thomas Bozzuto Phyllis Bryn-Julson and Donald Sutherland + Elana R. Byrd Cape Foundation Charlesmead Foundation Laifun Chung and Ted Kotcheff Rosalee and Richard Davison
Lynn and Anthony W. Deering Estelle Dennis Scholarship Trust Jephta and Daniel Drachman Peggy and Yale Gordon Charitable Trust Amy L. Gould and Matthew S. Polk Jr. Taylor A. Hanex T. Rowe Price Foundation Adam G. Shapiro Judith and Turner Smith Marc C. von May Andrew Yang Shirley S.L. Yang
VIRTUOSO’S CIRCLE $10,000 - $24,999 Jacob and Hilda Blaustein Foundation Tammy L. Bormann and Mark J. Paris Alexandra L. Clancy Stephanie Cooper-Greenberg and Erwin L. Greenberg Charles Delmar Foundation Helen P. Denit Charitable Trust Evergreen House Foundation Nancy Grasmick Wilda M. Heiss Christina M. Holzapfel and William E. Bradshaw Nina Rodale Houghton Charlene and Michael Kass C. Albert Kuper III Audrey C. McCallum Dae-Won Moon Israel and Mollie Myers Foundation Susan Perl + Barbara and David Roux Sheridan A. L. and John W. Skouge Speedwell Foundation Dorothy Richard Starling Foundation Esther Carliner Viros Barbara P. and Martin P. Wasserman Thomas Wilson Sanitarium for Children of Baltimore City
CONCERTMASTER’S CIRCLE $5,000 - $9,999 A L H Foundation Bank of America Foundation ** Liz and Fred Bronstein C. Sylvia Brown and Eddie C. Brown Robert T. Foley Edith Hall Friedheim and the Eric Friedheim Foundation Ruby and Robert Wesley Hearn
Mary Burke, Allan Jensen, and Claire Jensen Jephson Educational Trusts Robert Wood Johnson Foundation ** Akemi Kawano-Levine and David Levine Helen C. Kielkopf and John F. Kielkopf Koret Foundation John J. Leidy Foundation Abbe Levin Charles and Margaret Levin Family Foundation Terry H. Morgenthaler and Patrick J. Kerins Clara Juwon Ohr Peabody Institute Fund of the Baltimore Community Foundation Lori Raphael and J. Michael Hemmer Sonia Robbins and David H. Schwartz Lisa Smith and W. Christopher Smith Jr. Marian and Abraham Sofaer Carol J. and Roy R. Thomas Susan F. Weiss Sally A. White
PRINCIPAL’S CIRCLE $2,500 - $4,999 Frances K. and George Alderson Ira J. and Mary K. Basler Foundation Basil Gordon * Korean Chapter of the Society of Peabody Alumni Sara W. Levi Links, Inc. Thomas MacCracken Lloyd E. Mitchell Foundation Trust Christine Rutt Schmitz and Robert Schmitz Angela and Daniel Taylor Helen Stone Tice Marguerite M. VillaSanta Charles Emerson Walker Margaret C. and Patrick C. Walsh
DIRECTOR’S CIRCLE $1,000 - $2,499
Allison Tsai and Carol Cannon
Patricia and David Bernstein Lisa Di Julio Bertani Carol A. Bogash Aurelia G. Bolton Anders V. Borge Paula Borge Amy Boscov and Terrence Ellen Helene Breazeale Laura R. Burrows Carol Cannon Denise Caves Trust L. Chinsoo Cho Georgia R. Crompton Margaret O. Cromwell Family Foundation D’Addario Music Foundation
Nikolai Isayev Donna and Eric Kahn Patricia E. Kauffman Harris L. Kempner Jr. Irene T. Kitagawa and Stephen S. McCall Myron Terry Koenig Fund for Waverly Christopher Kovalchick Galan Kral Susan and Jeffrey Krew Cynthia and Paul Lorraine Lois & Philip Macht Family Philanthropic Fund Ellen Mack Paul B. Mathews Carol and Paul Matlin Barbara and John McDaniel Cynthia and Michael McKee Gary Melick Microsoft Corporation ** Marjorie and Howard Mitchell Suruchi Mohan and Prabhat K. Goyal Mary C. R. S. Morgan and David J. Callard Federico A. Musgrove Stetson Thomas R. Nathan NYC Classical Guitar Society Kimberly and Townsend Plant Melissa and Charles Reuland Joanne Rosen and Ronald Daniels
Anita and Marc Abramowitz Elizabeth Adams Anonymous (2) Edith Andre-Bjork Kristin Bacchiocchi-Stewart Missy and Rick W. Baker Carol and Steven Batoff Larraine Bernstein and Kenneth D. Hornstein
Mateen Milan and Donald Sutherland Russell Davidson Foundation Ruth L. and Arno P. Drucker Lydia and Charles Duff Phillip T. Dunk Jr. Hildegard and Richard Eliasberg Anna Else and Joshua D. Else Kimberly and Donald Evans Brook E. Ferguson Exelon Foundation ** Wenbin Feng and Renjie Yang Brook E. Ferguson Google, Inc. ** David B. Grossman and the Bill Grossman Fund of the Isidore Grossman Foundation Ellen Halle and the Halle Family Philanthropic Fund Maureen Harrigan and David McDowell Barbara S. Hawkins Todd Hodes Kris Hoffman and Paul D. Raschke Alma D. Hunt/VCM Charitable Trust Thomas E. Hunt Indian Spring Academy of Music Nathalie Irvine and Bruno Latchague
Matthew W. Rupcich Oscar Schabb Suzanne J. Schlenger Tracey Pullo Schutty Terry Meiselman Shuch and Neal Meiselman Carolyn J. Sienkiewicz Thomas R. Silverman Eleanor Simon and Patrick O’Neall Jan K. Smeets Linda B. and Richard Q. Snurr Rochelle Stanfield and Edward Grossman Edward Steinhouse Kenneth R. Talle Andrea Trisciuzzi and Charles Gannon Sheila and Erick Vail Beverly Dietrich Weber Wolman Family Foundation Avedis Zildjian Company
+ In-Kind Gift * Deceased ** Matching Gift
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