Johns. - Digital Collections of the Arthur Friedheim Library

SERVING THE BALTIMORE/WASHINGTON CULTURAL CORRIDOR

Johns. Hopkins

SEPTEMBER/OCTOBER! 995 CIRCULATION 25,000

— <gnupjyiis

Peabody News '95/'96 Season

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Baroness Katharine van Hogendorp's Memories of World War II

page 21

07i&tJiiH>lu/&cimiI(f/ (iome& t& £/oiori/ page 10

The Prophetic

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THE

GEORGE PEABODY

ICENTENARY

EXHIBITION

opens at Peabody

page 16

Peabody News Sept/Oct 1995

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SCOTT TENNAHT

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UMBER OF SUBSCRIPTIONS X 55 = ADDITIONAL TAX DEDUCTIBLE CONTRIBUTION =

TOTAL =

CHECKS PAYABLE TO: THE BALTIMORE CLASSICAL GUITAR SOCIETY

4607 MAPLE AVENUE/BALTIMORE, MD 212£

NAME:

ADDRESS:

ClTY: STATE:

Sept/Oct 1995 Peabody News 3

INDEX For the convenience of our readers , we l ist below the pr incipal groups and institutions tha t present or host cultural events

BALTIMORE

Baltimore Center for the Performing Arts 410/625-4200 page 29

Balt imore Choral Arts Society 410/523-7070 page 29

Baltimore Classical Guitar Society 410/247-5320 page29

Balt imore Consort page 30

Balt imore Museum of Art 410/396-6314

Balt imore Opera Company 410/727-6000 page 30

Balt imore Symphony Orchestra 410/783-8000 or 1-800-442-1198 page 30

Boston Street Dinner Theatre 410/633-5936 page 37

Cathedral of Mary Our Queen 410/433-8803 page 30

Center Stage 410/332-0033 page 31

Chamber Music Society of Balt imore 410/486-1140 page 31

Concert Artists of Balt imore 410/764-7371 page 31

Essex Community College 410-783-6369 or 780-6521 page 32

Evergreen House 410/516-0341 page 32

Gordon Center 410/356-SHOW page 32

Goucher College 410/337-6154 page 32

Handel Choir of Balt imore 410/366-6544 page 33

Hopkins Special Events 410/516-7157 page 33

Hopkins Symphony Orchestra 410-516-6542 page 33

Loyola College 410/617-5024 page 33

Morgan State Universi ty 410/319-3286 page 33

Music in the Great Hall 410/823-8339 page 33

Notre Dame 410/532-5105 page 33

Peabody Conservatory of Music Box Office 410/659-8124 pages 12-15 and 47

Performing Arts Product ions 410/494-2712 or 1-800-669-STAGE page 34

Pro Musica Rara 410/433-0041 page 34

Rosa Ponse l le Foundat ion 410/486-4616 page 23

Second Presbyter ian 410/889-6819 or 467-4210 page 34

Shriver Hall 410/516-7164 page 34

Towson State Universi ty 410/830-2796 page 34

UMBC 410/455-2942 or 410-455-MUSC page 34

Walters Art Gallery

410/547-9000

WASHINGTON

American Chamber Orchestra 301/656-8173 page 35 Cathedral Choral Society 202/537-8980 page 35

Choral Arts Society 202/244-3669 page 35

Freer Gallery of Art 202/357-4880 X 411 page 35

French Embassy 202/387-4933 page 35

Folger Library/Consort 202/544-7077 page 36

Kennedy Center 202/467-4600 page 36

National Symphony Orchestra 202/467-4600 page 36

Oratorio Society of Washington 202/342-6221 page 38

Strathmore Hall 301/530-0540 page 38

Terrace Theatre at Kennedy Center 202/467-7000 page 36

Theatre Chamber Players 301/469-0196 page 38

Washington Bach Consort 202/337-1202 page 38

Washington Ballet 202/432-SEAT page 38

Washington Chamber Symphony 202/452-1321 page 38

Washington Concert Opera 202/333-1768 page 38

Washington Opera 202/416-7800 page 39

Washington Performing Arts Society 202/833-9800 page 39

Wolf Trap

703/218-6500 page 36

MARYLAND

Annapolis Symphony 410/763-0907 page 41 Annapolis Opera 410/267-8135 page 41

Ballet Theatre of Annapol is 410/263-2909 page 41

Candlel ight Concert Society 410/715-0034 or 301/596-6203 page 41

Carroll County Farm Museum 410/848-7775, or 410/876-2667 1-800-654-4645 page 35

Columbia Pro Cantare 410/465-5744 page 41

Concert Society at Maryland 301/403-4240 page 41

Howard Community College 410/964-4900 page 41

Maryland Symphony Orchestra 301/797-4000 page 41

United States Naval Academy 410/268-6060 or 1-800 US4-NAVY page 41

OTHER FEATURES

Bret Hershey's Magic Lives On page 18

D e n e s Agay—From B u d a p e s t to Balt imore page 42

An Indones ian Premiere by Robert Macht page 44

Elam Ray Sprenkle Remembers Jack Carton page 46

W A S H I N G T O N

1690 36th Street, NW, Washington, DC 20007

Wagner's

Der Fliegende Hollander

starring

JAMES MORRIS

and

DEBORAH VOIGT

Stephen Crout, conductor

Friday, Sept. 8 at 7:30 pm Sunday, Sept. 10 at 6 pm

Concert performances in German with full orchestra and chorus and projected

English translation

Lisner Auditorium, GWU 21st &H Streets, NW

Tickets from $19 to $43 Call (202) 333-1768

"Concert Opera... one of Washington's

treasures" i

Octavio Roca, The Washington Times

4 Peabody News Sept/Oct 1995

Peabod^ews

The Award Winning Newspaper of the Baltimore/

Washington Cultural Corridor Published by the Peabody

Conservatory of Music, Baltimore.

Circulation: 25,000

Editor: Anne Garside

Arts Reporter: Mike Giuliano

Publishers Representative:

Network Publications 2315 Maryland Avenue Baltimore, MD 21218

(410) 235-0500

Publisher: Charles Boyce

Portfolio Manager George Concannon

Art Director: Diane Zarfoss

Designers: Michael Marshall

Anne Ridenour

Printed by: Homestead Publishing Co.

Peabody News is published bimonthly for September/October; November/December; January/February; March/April; and May/June. Each issue mails out at least 10 days before the first month of the issue date.

Edited for Peabody/Hopkins faculty, executive staff, alumni donors and friends and Kennedy Center concertgoers.

Articles, news items and display ads are accepted at the Editor's discretion. For editorial information contact:

Anne Garside Director of Public Information The Peabody Conservatory of

Music One East Mount Vernon Place

Baltimore, Maryland 21202 410/659-8163

Talcs atom,

Wo Cities Queen Elizabeth Opens Peabody Trust Project in London

This summer, on July 26, Her Majesty Queen Elizabeth 11 opened Bruce House, the Peabody Trust's project to provide living space and job training for homeless young people in London. Bruce House, which is located in the Covent Garden area just off Drury Lane, is the Trust's second project of this kind. The Peabody Trust in London, founded by George Peabody, is Bri ta in 's largest non-profit housing association. While fulfilling its traditional role of providing low-rent housing for low-income people, the Trust has expanded its mission in recent years to atttack the problems of urban poverty at their roots. In the above photo, the Queen is talking with Sir William Benyon, Chairman of the Trust.

Fashion Shoot at Peabody

Watch out for the Baltimore Sun's magazine section in the last week of August. It will be devoted to the Fall Fashion scene, with models photographed against a Peabody backdrop. High fashion around Peabody usually means jeans and t-shirts but these glamorous models are sporting outfits ranging from a $2,000-plus, diamond-edged evening dress to a chain-link bustier. The locations were the Friedberg Concert hall, a Prep dance studio complete with ballerina, the Rymland Room, studios, and, our favorite, a dingy alleyway between buildings where

v the models, dressed in Chicago Gangster-style pantsuits and low-brimmed ha t s clutched violin cases like machine guns.

Her Majesty the Queen with Peabody Trust Chairman Sir William Benyon

A Marathon Bicycle Ride to Help Victims of Oklahoma Bombing

In a review of Gregory Taboloffs performance of Beethoven's Piano Concerto No. 3 with the Musica Dolce Orchestra, a critic noted, among other superlatives, his "superb finger-work". This June, Gregory took off from his teaching and performing schedule to help the victims of the Oklahoma bombing. In this venture it was his legwork that counted.

The Taboloffs decided to help by raising money for a scholarship fund for the children of the vict ims. They planned a bicycle marathon - a grueling 90 miles a day through some of Americas most unforgiving desert.

Greg, an experienced long distance cyclist, pedalled 1800 miles from his home in Walnut Creek, California, to Oklahoma City in 20 days. Just behind the bike was his five-year-old son Jeffrey towed in a burley. Jeff passed the time talking and singing songs with his father, reading books and listening to tapes . He even had a walkie-talkie in the burley so he could talk to his mother, Mary, who followed in the family van.

It was a proud moment for the Taboloff family when they hand delivered the $12,000 in donations they had raised to the Oklahoma City Community Foundation. Although Mary and Greg paid all their expenses for the trip, Oklahoma City insisted on rolling out the red carpet for them, putting them up at the finest hotel and urging them to move to Oklahoma!

After his long journey, Greg even had enough energy left to play a concert and raise an additional $800 for the orphaned children in Oklahoma City.

Mark Markham Encounters Screaming Rock Fans and a Giant Moose

My summer plans included two recitals with countertenor Derek Ragin, one in Naples (June 23) and one in Quebec City (July 14). Then there got added in dates in Norway and Britain to accompany the great soprano Jesse Norman. My Peabody teacher, Ann Schein, who normally accompanies Ms. Norman, couldn't make those dates and proposed me as a substitute.

The Naples concert initially was a half recital; then a full recital. Two weeks before the date it had shrunk to seven minutes of music and by the time we had arrived it was down to three minutes. One thing had remained constant throughout these changes - the fee. We were soon to find out why. The concert was to take place on a stage that was constructed in front of the Palazzo Reale built in 1600. I played the piano on stage while Derek sang from the third-floor balcony of the palace. We were 100 yards apart. To hear each other, Derek had to wear little earplugs and there was a large speaker placed beside the piano. It was then that we found out who the other performers were. We were three minutes of a 2 1/2 hour rock concert, to be broadcast live. We followed the hottest new teen-rap group from Southern Italy and our performance was punctuated by screams from young girls begging for the Rappers to return.

Of quite a different nature were the three recitals accompanying Jessye Norman in Glasgow, Birmingham, and Hamar . To experience Jesseye Norman's voice in a hall or on a CD is one thing, but to have her standing


George Peabody Medals Awarded to Robert Pierce and "Mickey" Steinberg

Left to right: Melvin A. ("Mickey") Steinberg, Dean Eileen Cline, retiring

Peabody Director Robert Pierce and Johns Hopkins Provost Dr. Joseph Cooper.

scream began to make sense. The moose had wandered on home and all he needed was some Advil.

The driver got Jessye's bag from the t runk and she found some tissues to try to stop the bleeding. It was the next question from our driver that made both of us wonder just how safe we were. He got into the car, turned around and asked, "Shall we continue on to Oslo?" The window next to me had pieces of glass hanging from all edges, we were literally covered in glass, and this man wanted to continue for another hour-and-a-half to Oslo. I believe we both yelled "NO!" and asked him to call the police and get us another car. I got to bed around 4 a.m. with a 9:00 a.m. flight to catch to make it back to the States so that I could then leave the next day for Quebec to do a recital with Derek Ragin. My jetlag was nowhere to be found in Quebec. I was too busy looking for the next moose that might cross my path.

Mark Markham

next to you singing Wagner's Wesendonck Lieder is almost more than mind and body can handle. Our rehearsa ls were great fun as were our concerts. Hamar, Norway is the birthplace of the great Norwegian soprano Kirsten Flagstad. It is a small town about two hours north of Oslo. The concert took place on July 12, in the church where Flagstad gave her last public performance. A very enthusiastic audience filled the church and after the recital there was a dinner with the mayor and members of the Flagstad family.

At about 12:15 a.m. (it was still daylight) we left by limousine for Oslo. About half an hour into our trip, Jessye let out what I thought was a laugh but turned out to be a warning of things to come. The car swerved and suddenly the window next to me exploded into thousands of pieces and I found myself covered in glass and blood from my face. Also, a large piece of the door had flown off and hit me on the side of the head and threw me into Jessye who was also covered in glass. The driver told us that a moose had run into our car. I had not seen this animal, but Jessye had, and her half laugh/half

James Earl Jones Pays a Call

That consummate stage and screen star James Earl Jones was at Peabody this July. He was in session for a day at the Peabody Library to autograph copies of the Bell Atlantic Yellow Pages for fans. Nine out of Ten brought their Yellow Pages with them! The occasion was staged to highlight the Baltimore Reads program, as well as give Bell Atlantic customers a chance to audition for future commercials with the telephone company's inveterate spokesman.

The 1995-96 S e a s o n at Kennedy C e n t e r

THE WASHINGTON

OPERA Celebrate our fabulous 40th with a mini-series of 3 or more operas

We 're celebrating our 40th anniversary with a lhieup that, 's special even by our standards. Retired general director Martin Feinstein

passes the torch to artistic director designate Pldeido Domingo with this magnificent final season of his long leadership of the company.

Subscribe now and you can be a pari of it all. With our first. Rosenkavalier, Samuel Ramey in Mefistofele and the North

American premiere of a remarkable work, The Washington Opera continues to be DCs hottest ticket.

Giuseppe Verdi

Luisa Miller Innocence is betrayed in Verdi's powerful and touching

"Romeo and Juliet" tale of forbidden love, jealousy and deception. Richard Buckley, Christopher Matlaliano, Attilio Colonnello,

Charles Caine, Joan Sullivan -» With Veronica Villarroel, -lane Gilbert, Lando Bartolini, Haijing Fu, Gabor Andrasy, Kevin Langan.

November 4, 9, 12m, 14, 17, 20, 25, 1995 -

Richard Strauss

Der Rosenkavalier ^mmd In Strauss' most lyrical and best loved work, an older woman (of thirty two!) tries to find happiness with a younger man.

Heinz Fricke, Michael Heinicke, Thierry Bosquet/Alfred Roller, David Walker, Joan Sullivan •*• With Helen Donath, Jeanne Piland,

Janet Williams, Eric Halfvarson, David Evitts, William Joyner. November 11, 13, If), 18, 21, 24, 26m, 1995

Gioacchino Rossini

II Barbiere di Siviglia The world's most famous barber is up to his usual liair-raisiiig

tricks in a rollicking new production of Rossini's laugh-filled favorite. Heinz Fricke/Alan Nathan, Leon Major, Allen Moyer, James Scot!,

Joan Sullivan •» With Vivica Genaux, Michael Chioldi, Brian Nedvin, Edward Russell.-December 23, 27, 29, 31 1995,

January 7m, 12, 15, 20, 23, 25, 28m, 31, February 3, 6, 1996

Hans Krasa

Betrothal in a Dream North American premiere

A coiuuving mother is determined to marry her daughter off to a wealthy husband in this highly entertaining and remarkable work.

Israel Yinon, Karel Drgac, Rainer Sinell, Joan Sullivan -•• With Brigitte Hahn, Mildred Tyree, Josepha Gayer, Peter Parsch, Joseph Wolverton,

John Shirley-Quirk. - January 6 , 8, 14m, 17, 19, 22, 2(5, 30, ' February 1,4m, 8, 10, 1996

Jules Massenet

Werther Share the magnificent obsession of Goethe's romantic hero in this gorgeous tale of unrequited love and shall ered dreams.

Gal Stewart Kellogg, Roman Terleckyj, Zack Brown, Joan Sullivan With Charlotte Hellekant, Nancy Allen Lundy, Michael Myers, Chris Owens.

January 13, 16, 18, 21m, 24, 27, 29, February 2, 5, 7, 9, 11m, 1996

Arrigo Boito

Mefistofele The Faust legend continues with Samuel Ramey in one of the most

stupendously entertaining productions ever seen on our stage. John DeMain, Robert Carsen/Ross Perry, Michael Levine, Joan Sullivan

With Nelly Miricioiu, Samuel Ramey/Barseg Tumanyan (March 19), William Joyner. - February 29, March 3m, 5, 8, 11, 13, 16, 19, 1996

Wolfgang Amadeus Mozart

Cosi fan tutte Tlie battles of the sexes is about to begin in Mozart's comic classic,

complete with a non-stop Hood of brilliant solos and exquisite ensembles. Richard Bradshaw, Roman Terleckyj, Jean-Pierre Ponnelle, Joan Sullivan

With Pamela Coburn, Delores Ziegler, Jan Grissom, Richard Croft/ Jerry Hadley (March 22 & 24), Wolfgang Holzmair, Paolo Montarsolo.

March 9, 12, 14, 18, 20, 22, 24m, 1996

Mini-series packages of 3 and 4 operas are still available. Call today — many performances are already sold out.

202 416-7800 Toll F ree 1-800-87-OPERA


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Harold Bobinson

Roberto Diaz and Harold Robinson appointed Principals

with Philadelphia

Orchestra Peabody faculty members

Roberto Diaz and Harold Robinson move to one of the most illustrious orchestras in the world when they take up positions as Principal Viola and Principal B a s s wi th the Phi lade lphia Orchestra this fall. A native of Chile, Diaz is a former Principal Viola of the National Symphony Orchestra. Both Robinson and Diaz wil l be commuting to Peabody in the year ahead to continue their teaching.

Roberto Diaz

Nineteenth Season

COLUMBIA PRO CANTARE

Frances Motyca Dawson, Conductor

CZECH CONCERT SUK

Meditation on the Old Czech Chorale

St. Wenceslas, Op. 35A N*- r

D V O R A K Biblical Songs, Op. 99

ZELENKA Miserere in C Minor

MOZART Great Mass in C Minor,

K427 (417A)

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Organ Recital 2:30 pm, Robert Gallagher

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PEABODY WINNERS

Yuliya Gorenman Placed Four th in Queen Elisabeth of Belgium Competition

Yuliya Gorenman, a native of Russia who recently became an A m e r i c a n c i t i zen , won f o u r t h prize in the Queen El i sabe th of Be lg ium I n t e r n a t i o n a l P i a n o Competition in Brussels this past June. She is a doctoral student of Leon Fleisher at Peabody.

The 27-year-old pianist , who was born in Odessa and studied there before entering the Rimsky-Kor sakov C o n s e r v a t o r y in Leningrad, left Russia at the age of 18 w i t h h e r fami ly to seek greater artistic and religious freedom. Her path to Peabody was a circuitous one. The family emigrated through the Czech-Austrian border , going f i rs t to I t a ly . They finally received permission to live in America, opting first for San Francisco where Yuliya won first prize in the 1990 San Francisco Young Pianists Competition. This provided a s cho la r sh ip to study at the San Francisco Conservatory, where she obtained her Master's degree. She then came to Peabody to study with Fleisher. F r e s h from h e r B r u s s e l s win , Yuliya appeared with the Baltimore Symphony Orchestra at Oregon Ridge this summer.

David Smooke and Laura Kolker win BMI Awards

Two P e a b o d y s t u d e n t s a r e among only ten national winners of the 43rd Annual BMI Student Compose r A w a r d s , r e c e n t l y announced in New York.

David Smooke, who won for h i s compos i t ion " R a p u n z e P s Lament ," is a 1995 g r adua t e of the Peabody Conservatory, where he s t u d i e d w i t h R o b e r t H a l l Lewis. The twenty-s ix-year-old composer , o r ig ina l ly from Los A n g e l e s , a lso won t h e 1995 William Schuman Prize, which is g iven each y e a r for t h e score judged "most outstanding" in the competition.

Laura Kolker, seventeen-year-old daugh te r of Phi l l ip Kolker, Pr incipal Bassoon of t he Bal t i more Symphony Orches t r a "and soprano Elizabeth Hart, studies at t he Peabody P r e p a r a t o r y w i t h Stephen Coxe. Previous composition teachers include Pamela Lay-m a n - Q u i s t , J o h n Y a n k e e , a n d Paul Navert at the Walden School in New Hampshire, which she has a t tended for the l as t four summers. Her award-winning composition is entitled "The Armenian Mother."

Established in 1951, the BMI Student Composer Awards recognize superior creative talent, and w i n n e r s rece ive s c h o l a r s h i p

Yuliya Gorenman

Laura Kolker

grants to be applied toward their musical education. Nine former winners have gone on to win the Pulitzer Prize in Music. This year more than 400 compositions were submitted.

Elated by his top win, David Smooke gives Peabody some of the credit. "I think Peabody is unparalleled in the amount of opportunities it gives composers to hear their works. It's the only school in the world I know of where you can w r i t e a n opera a n d get i t per formed." Smooke is taking a year off to travel in Europe and plans to apply for a doctoral program when he returns.

At t i m e of going to p r e s s , Laura Kolker was off at summer music camp, but it was rumored t h a t the Bal t imore Choral Ar ts Society was interested in performing her composition at one of their c o n c e r t s t h i s s ea son . She wil l at tend the SUNY Honors College in Music this fall.

Nathan Curr ier Wins the Rome Prize

Nathan Currier, who graduated from Peabody in 1984 and now lives in New York, h a s won the Rome Prize, awarded each year by the American Academy in Rome. The Prize provides fellowships for American ar t is ts and scholars to live and work a t the Academy's ten-building, eleven-acre site atop the Janiculum Hill in Rome, Italy.

This yea r ' s 23 Rome Pr izes w e r e a w a r d e d in t h e f ie lds of a r c h i t e c t u r e , d e s i g n , h i s t o r i c p re se rva t ion and conserva t ion , musical composition, visual a r t s , landscape archi tecture, classical studies, history of ar t and humani s t i c s t u d i e s . T h e c o m p e t i t i o n a t t r a c t s a b u t 1,000 a p p l i c a n t s annually from all over the country, ranging in age this year from 26 to 54.

C u r r i e r , who s t u d i e d w i t h Robert Hall Lewis at Peabody, is the recent recipient of a Guggenheim fellowship as well as a Grant from the National Endowment for the Humanities. His eleven month residency in Italy begins this Sept e m b e r . At t h e m o m e n t he is u n s u r e how w i n n i n g t h e Rome Prize will change his life. "Sometimes," he says," it is more importan t to have that year to yourself to s p e n d do ing w o r k t h a t you w a n t to do r a t h e r t h a n to have some tangible benefit accrue from winning."

Nathan Currier

Deborah Lee Wins Kosciuszko and Aspen Competitions

Deborah Lee, an undergradua te s tuden t of Ann Schein, won first place in the Kosciuszko Compet i t ion in New York th i s pa s t s p r i n g a n d p l a y e d a w i n n e r ' s rec i ta l in Warsaw*fchis Augus t . D e b o r a h a l so won t h e A s p e n Music Festival Concerto Competition this summer and is now playing recitals round the country.

The Peabody Symphony and Concert Orchestras Win ASCAP Award

The Peabody Symphony and Concert Orchestras, whose Music Director is Hajime Ter i M u r a i , Ruth Blaustein Rosenberg Directo r of O r c h e s t r a l Ac t iv i t i e s a t Peabody , h a v e won an ASCAP Award for the Adventurous Programming of Twentie th-Century Music. The Distinguished composer Morton Gould, president emerit u s of ASCAP, p r e s e n t e d t h e a w a r d to E n s e m b l e M a n a g e r Linda Goodwin on June 15 at the American Symphony O r c h e s t r a League's National Conference in Portland, Oregon.

"Off Chants" on CD

Peabody grad Forres t Tobey has just released an independent CD w i t h h i s j a z z / w o r l d m u s i c ensemble "Off Chants." The CD is enti t led "Sketches of India" and combines elements of jazz, western art music, and computer technology wi th t r a d i t i o n a l I n d i a n classical music (si tar and tabla) and other world musics. Working on the project with him was his wife, Lynnell Lewis and two musicians who are trained in the Indian classical style. The CD will be a p p e a r i n g in B a l t i m o r e a r e a stores this summer.


PEABODY WINNERS

Matthew Rowe Wins Prize at Malko Conducting Competit ion in Copenhagen

Conducting graduate Matthew Rowe, who studied with Frederik Prausni tz , has won third prize in the International Malko Competition for Conductors in Copenhagen.

Larissa Sokoloff Wins Fulbright Grant

Peabody graduate Larissa Sokoloff, a former piano student of Leon Fleisher, has won a Fulbright Grant to study in Hungary next year. '

Clinton/Narboni Duo Win Top Prize

The duo piano team of Clinton/Narboni won the top prize in the 1995 Ellis Duo Piano Competition sponsored by the National Federation of Music Clubs. As a result of their win, they will be playing recitals throughout the United Sates for the next two years. Nicole Narboni (DMA '92) and her husband Mark Clinton (MM '86) are both on the faculty of the University of Nebraska at Lincoln and have recently been named Steinway Artists. This season the duo will make their major orchestra debut with the San Antonio Symphony.

Ya-Ting Chang Wins in Taiwan

Ya-Ting Chang, piano student of Ann Schein, recently won third prize in the Chopin Competition in Taiwan.

Flutist Alison Pot te r Wins Woodwinds Prize

Alison Potter, a Master's student of Robert Willoughby, recently won third prize in the Koussevitsky Competition for Woodwinds in New York. She is also one of five finalists to compete in the Piccolo Artist Competition at the National Flute Convention in August.

Organ Wins

Min Kyoo Shin, a student of Peggy Howell, won first place in the Pre-Convention Regional Competition of the American Guild of Organists. Second place was won by Mark Willey, a student of Donald Sutherland. Both winners will go on to compete at the national competition.

The Pre-Convention Competition was held in Richmond, Virginia in June, at the church of noted organist Carl Freeman, a Peabody alum.

The Russia Quarte t Takes Third Prize

The Russia Quartet recently won third prize in the Junior Division of the Fischoff National Chamber Music Competition in South Bend, Indiana. The quartet consists of Peabody Preparatory violin students Anna Elashvili and Igor Yuzefovich, viola student Rachel Shapiro, and Ilya Levtov, who studies cello. All were in the Preparatory Arts for Talented Youth Program this past year. They competed with ensembles from twelve countries.

Spyri Trio Wins Chamber Music Award

In May 1995, the Spyri Trio won the W. Frederick Schaad Award at the 24th Annual National Chamber Music Compet i t ion in Carmel, California. Members of the trio are Maja Geigenmueller, Pei Lu, and Heidi Louise Williams all students at the Peabody Conservatory.

Maja Geigenmueller, born in Switzerland, and a violin student of Berl Senofsky, is pursuing her Master's degree. A native of the People's Republic of China, Pei Lu is in the Artist's Diploma program, and studies cello with Stephen Kates . Heidi Louise Williams, born in Oregon, studies piano with Ann Schein, and is currently pursuing her Doctor of Musical Arts degree.

Vocal Wins

From the Conservatory voice studio of Stanley Cornett, Mark Tevis has won First Place in the Student Division of the Florida Grand Opera Competition, and Alicia Berneche and Tae Won Kim were both finalists in the Hienz Rehfuss Competition sponsored by the Orlando Opera.

David Gaines Wins Firs t Pr ize in Esperanto Competi t ion

Composer David Gaines, a fourth-year doctoral student, was awarded First Prize in the song division of the International Fine Arts Competition of the World Esperanto Association (UEA). The award was made at a ceremony at the 80th World Congress of Esperanto, taking place from 22-29 July in Tampere, Finland. Gaines winning composition was a work for unaccompanied choir entitled Povas Plori Mi Ne Plu (I Can Cry No Longer) with original text in Esperanto. The song is a lamenta t ion for the people of Bosnia. David was also a guest composer at the Reykjavik Conservatory, Iceland, the week before.

The Bill and Mary Meyer Concert Series

Tuesday, October 17, 7:30 p.m. Jud i th Serkin and Friends

A concert arranged by Judith Serkin. Todd Phillips and Catherine Cho, violins;

Ah Ling Nen and Daniel Panner, violas; Judith Serkin and Robert de Maine, cellos;

Toshiko Kohno, flute; Rudolph Vrbsky, oboe; and Jeffrey Chapell, piano

M O Z A R T : Viola,Quartet in C Major, K. 515 PETER L I E B E R S O N : Feast Day (for flute, oboe, cello, and piano)

D V O R A K : String Sextet in A Major, Op. 48

Friday, October 27, 7:30 p.m. T h e Cleveland Q u a r t e t (final Washington appearance)

H A Y D N : Quartet in D Major, Op. 76, no. 5

JOHN C O R I G L I A N O : Farewell Quartet (U.S. premiere)

B R A H M S : Quartet in A Minor, Op. 51, no. 2

For special ticketing requirements call (202) 357-4880 ext. 411

Tuesday, November 28, 7:30 p.m.

C h o - L i a n g L in , violin, and A n d r e M i c h e l S c h u b , piano

Wednesday, December 6, 7:30 p.m.

Musicians from Marlboro I

Thursday, February 15, 7:30 p.m.

The Shanghai Quartet

Monday, March 4, 7:30 p.m.

Musicians from Marlboro

Thursday, March 14, 7:30 p.m.

Emanuel Ax, piano

Wednesday April 24, 7:30 p.m.

Musicians from Marlboro III

FREE Free tickets (two per person) distributed at the auditorium

one hour before performances begin. October 27 concert has special ticketing

requirements. For ticket and program information call (202) 357-4880 ext. 411.

The galleries remain open until 7:30 p.m. on these evenings.

The Bill and Mary Meyer Concert Series has been established in memory of Dr. Eugene Meyer III and Mary Adelaide Bradley Meyer. It is generously supported

by The Island Fund in The New York Community Trust and Elizabeth E. Meyer.

Freer Gallery of A r t

Meyer Auditorium

Independence Ave. at 12th St., SW 6.

Washington, D.C.

(202) 357-3200 TTY: (202) 786-2374

All programs subject to change.


What Better Place than Here? What Better Time than Now? Robert Sirota Articulates his Vision

Now that he's moved to Baltimore, one of the first thing Bob Sirota likes about the town is that his apartment building has a real concierge— a friendly face to greet him and take in parcels and messages. After living in New York where apartment buildings generally have just a doorman, he finds this a welcome human touch.

The town, of course, has been welcoming to Dr. Robert Sirota in many other ways. His appointment to head Peabody, announced this past May, has been greeted with pleasurable anticipation on the part of the Peabody community. It is matched by his own enthusiasm for his new position. He's delighted to be here and shows it. His first official social event this summer was attending the Peabody staff picnic, where he consumed enough steamed crabs to prove that he could fit right in.

One of his colleagues in New York gave him a very appropriate par t ing gift — a photo of the Johns Hopkins Glacier in Alaska. The new director of the Peabody Institute of The Johns Hopkins University already has it proudly displayed in his office.

Although he does not officially take up his appointment until September 1, Dr. Sirota had already moved into the Ambassador Apartments on Canterbury Road by the end of July and was busy getting acquainted with key Peabody players and community leaders in the midst of a searing August heat wave.

"My wardrobe is all wrong for Baltimore," he jokes. "I need a seersucker suit."

He may need a seersucker suit, but there is little else the new director needs as far as job skills. His resume indicates that here is a man with an extraordin a r y wide background. Prior to coming to Peabody, he was chairman of the Department of Music and Performing Arts at New York University. In that job he was in charge of a diverse slate of academic programs, from Music Business, or Music Technology, to Drama Therapy, Educational Theatre, Dance Education and Performing Arts Administration, in addition to the standard performance and composition degree programs. Robert Sirota holds a doctorate in composition from Harvard and is a very active composer. He has also directed the Boston University School of Music, where he was responsible for the Tanglewood Institute, the summer music school run in conjunction with the Tanglewood Music Festival.

By ethnic origin, Dr. Sirota is Jewish — the name means "orphan" in Slavonic languages.

Peabody's new Director Dr. Robert Sirota wi£h wife Victoria, son Jonah and daughter Nadia in the garden of the Ambassador Apartments where the family is living in a top-floor penthouse.

"Sirota," he tells us, was a fairly common name among Jews living in the Pale of Settlement who often had names designating their trade or status. He himself is second generation American. His grandfather emigrated from eastern Europe in the early years of the century, and his father grew up on the lower east side of New York at East Fourth Street. When Bob Sirota became chair of the NYU Music Department, he was. tickled by the fact that it was located on West Fourth Street — "So it was like returning to my roots.".

Peabody's new director will bring a family of musicians with him to Baltimore. His wife, Victoria Ressmeyer Sirota, is leaving a post as professor at Yale. An accomplished organist and choir director, she was recently ordained an Episcopal priest . Now she is looking for a church position in Baltimore, preferably in an urban downtown neighborhood. The Sirotas met when both were students at Oberlin. Their son, Jonah, 19, is a sophomore viola major at Rice University and their 12-year-old daughter, Nadia, a violinist and composer, will attend Park School.

Having spent his whole life in the arts, both professionally and in terms of family involvement, Bob Sirota holds strong views on the directions Conservatories need to go in.

"In addition to studying classical piano and composition, I played in a rock band as a kid, so I grew up practising saxophone and keyboards in my friend's basement. For better or worse, for composers of my generation, (Dr. Sirota is still only 45, one of the youngest directors ever to be

apointed to head Peabody), we are all media children. We have experienced the immediacy and vitality of the direct power of communication, even if that communication is not always very subtle. Most of the music we hear most of the time comes from television and film. I heard my first Mendelssohn from a Warner Brothers cartoon. And there was a whole generation that thought that Rossini was the Lone Ranger! We cannot sit in conservatories and be unaffected by our environment. We must find ways to work in our environment and respond to it, and be open to the popular culture, not look down our noses at it."

Peabody's new director goes on with brutal frankness: " The public perception of classical music is abysmal. I'm not sure who's to blame, and I don't care who it is, but classical music suffers from such terrible misrepresentations and stereotypes. If you say 'opera' to most people, the image it conjures up is a fat lady with horns on her head who sings, as in 'It ain't over till the fat lady sings!' So we in conservatories have to find ways to make what we do, which I believe is central to a humane existence, come alive for people.

"One role of a conservatory," Dr. Sirota continues, " is to re-inform and re-educate a hungry public, because I believe people are hungry, they want to find meaning in their lives. If one just thinks of the problems of the city, whether it be Baltimore, New York, or any other large urban center, they are largely problems of alienation, and I believe that musicians know how to help solve that. That's what I want to do,

that's why I'm here." Dr. Sirota hastily adds: "Of

course, the first thing I want to do is listen. I need to spend time listening to people, inside Peabody, and out in the community. I can't jus t come in and know exactly what to do right away. But I do believe that when musicians are deeply engaged socially, they are much better musicians. They are able to — in my wife's way of putting it — give it away, share it with their audience, and the audience knows that they are in the presence of something special."

Bob Sirota leans back in his chair and asks simply: "What better place than here? What better time than now?

"If people are looking for answers, if people in Baltimore believe that the City has a social crisis, I want to be part of finding answers. I'd like to explore ways of bringing more people, and more different kinds of people, into Peabody, into our house, and make them feel that it belongs to them, too. I want people to feel invested in Peabody. That's what George Peabody wanted when he founded the Peabody Institute. It's there in his founding charter tha t the Ins t i tu te was to contribute to the cultural and moral improvement of society.

"I'd like to find ways in which the Peabody Preparatory and the Conservatory can interact better with the community. Perhaps that is by going out more into the schools or by bringing more children in to Peabody, or by creating par tnersh ips with community groups, or providing consultancies. It is important for the Black community to feel invested in Peabody and completely welcome here, that all have a voice here.

"One can take it as a given that we don't have the money to do all ^he things we want to do, and there is a danger tlVat we allow that lack of money to stop us. But from many years of church work, I have found that money appears when there is the proper alignment of intent, passion, and the necessity for something to happen. If we sit around waiting for the money before we come up with our plan, we will never come up with our plan, but if we take action, the angels will come and make sure t ha t the important things get done. I really do believe in angels. There are people out there who want to be angels. We have to connect with them, make them want to climb on board and be truly invested with us."

Bob Sirota acknowledges "Of course, the primary function of a great conservatory is to t ra in world-class musicians. We need to maintain and improve the already high standards here. Thanks to


the efforts of my predecessor Bob Pierce, and some other very committed people, Peabody is in good condition. I am fortunate to come at a very good time because the Institute is solvent and healthy and has excellent students and faculty. All the things are now in place for Peabody to become a proactive force in the community. My feeling is that artists have a moral obligation to be citizens of the world. You can't be one without the other."

Because Dr. Sirota has had such an active career as a composer, we asked him to reflect for a moment on where classical music is heading, and how should it relate to popular music?

"There has always been an 'art music' and a popular music," he observes thoughtfully. "The difference in this century is that popular music, with the advent of new recording technologies, became big business. That meant that the great cultural institutions thought they should try to preserve the more intellectual music. If you take a look at Mozart, he wrote a musical called The Magic Flute, which was performed in a popular theatre for the general public. What happened in this century was that art music became the province of a select few. This was heightened by the breakup of empires, and the end of royal patronage. Serious composition went underground and became hyperintellec-tual.

"This was further reinforced by the Second World War and its aftermath, when the entire structure of West European culture came under question. How could a culture bent on destroying itself be worth keeping? So a group of composers — Pierre Boulez, Henri Pousseur, Milton Babbitt — began to talk about completely reinventing art music. It was an existential crisis. They tried to create a music that was totally intellectual. That was what occupied serious composers in the '50s, '60s and even into the early '70s.

"Like all antidotes, this tended to be more harmful than the disease. It was a kind of shock therapy for music. Some of the music created was quite good, but we lost our audience, and composers retreated more and more into the academy — into colleges and universities. They didn't feel responsible anymore to anyone but themselves and the tenure committee, which was composed of their colleagues. They experimented in aesthetic isolation.

"Inevitably, the pendulum swings. The results of this whole era till the early '70s was that there was a great deal of experimental music, and great advances in electronics and mixing materials —it was a very rich era. These resources were appropriated by Pop music. Even groups like the Beatles, with their "Sargeant Pep

per's Lonely Hearts Club Band," were mixing and crosscutt ing back in the '60s. A great deal of good came of this period of experimentation, but there came a certain point at which composers began to languish in isolation. The avantgarde had become the dominant force. You couldn't get a university position if you didn't write 12-tone music. Over the last 20 years, this has been changing. We are in a much more eclectic era now, and there is a great deal of diverse and wonderful music being written and performed."

Like a whole generation of American composers in this century, Robert Sirota acknowledges his debt to Nadia Boulanger, the famed teacher who held court in Paris. In the early 70's, Sirota spent a year in Paris as a student of Boulanger, "the most influential teacher I ever had," he recalls.

"It was Nadia Boulanger who taught me that a composer has a moral responsibility. She was overwhelmingly positive about music and music making, and felt there was a deep connection between music and spirituality. This was not a popular idea in the middle years of this century. By the time I studied with her, she was going blind and couldn't see any more. But I would play one of my compositions and she would play it back to me from memory. She was such a genius."

Robert Sirota's work as a composer has since been recognized by numerous commissions and awards. His compositions include over 50 works for piano, organ, orchestra, chorus, chamber ensembles, opera and musical theatre. Recently he has concentrated on liturgical works, among them a choral mass, and on theatrical music, including a full-length musical and chamber operas.

"I am more and more fascinated with the heightened reality of both church music and theater," he has said in a recent press interview. "Both represent a focusing on specific aspects of human experience, wiping away everything else. You sit in the dark and look toward the light, both literally and figuratively."

Dr. Sirota expands that further: " In these stylized and ritualized situations, we try to close out all the extraneous noise of the world so tha t we can focus on some higher reali ty. For me, everything I try to compose now is either connected with the theater, worship or dance."

He reminds himself at this point that he must complete an anthem for Yale University this week.

Because his own compositions are so varied, Dr. Sirota has been frequently called upon to serve on national programs, such as the Choreographer Composer Collaborations program, where he has been both conductor and mentor.

That program is co-sponsored by the Carlisle Project, the Pennsylvania Ballet, the Pittsburgh Ballet, the Boston Ballet, and Jacob's Pillow Dance Company, with funding from the Pew and Mellon Foundations.

When his appointment was announced this past May, Dr. Sirota commented: "I would hope Peabody could be a place where we could explore possible new models for artistic training so that the 19th-century model of the conservatory—which we have all been in love with—will give way to some new generation of conservatories.

"Peabody is a wonderful place for really pursuing that relationship between great artistry and humanity. All of the pieces are in place for something extraordinary to happen."

Not that Dr. Sirota thinks it will be easy. This summer he went to see the movie Braveheart.

" I watched how this great Scottish hero William Wallace managed to get everyone to support him—how he rallied the ordinary people, the chiefs and the nobles to his side. And I was so impressed tha t at one point I leaned over to Vicki and whispered 'That's good administration!' That's what I need to do."

Nineteenth Season

COLUMBIA PRO CANTARE

Frances Motyca Dawson, Conductor

CZECH CONCERT

S, M TBA Baker, Lynch

MusicCrafters Oct. 29 at 3:00, Washington

Organ Recital at 2:30

HANDEL'S MESSIAH

Marsh, Busching, Hirst, Lynch Members of the BSO

Dec. 3 at 7:30, Columbia

BRAHMS REQUIEM

Davison, Rainbolt March 31 at 3:30

2nd Presbyterian Church, Baltimore

BOWIE BRASS Sprenkle Premiere

May 11 at 8:00, Columbia

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The Peabody Concert Season. Full details of all Fall Concerts are given in the Peabody Concert Calendar on page 47 of this issue.Please note that this year, concerts will begin either at 8:00 P.M. (instead of 8:15 P.M.) or 7:30 P.M. so that concert patrons can get home earlier.

From the haunting beauty of the lute to the majesty of the organ, Peabody's 94/95 Concert Season has many moods and tones. The school's ensembles, ranging from full orchestra and chorus to percussion and computer consorts, are composed of the finest young musicians anywhere in the world.

As you will have seen from the "Winners" columns in each issue of this paper, in 1995 alone, Peabody performers have won some of the world's top music prizes, from the Paganini Violin Competition in Genoa to the Queen Elisabeth of Belgium Piano Competition in Brussels Jus t this summer, Peabody composers captured the Rome Prize and two out of ten nat ional BMI Awards.So Peabody concertgoers can share the thrill of a vibrantly creative institution that is deeply rooted in Baltimore but global in outreach.

Orchestra Concerts

The Peabody Symphony Orchestra and Concert Orchestra, under the baton of their Ruth Blaustein Rosenberg Music Director, Hajime Teri Murai, won a coveted ASCAP for the adventurous programming of American music this past season.Each season the Peabody Symphony Orchestra is heard in the Ruth Blaustein Rosenberg series. The line-up of noteworthy soloists for both orchestras includes Russian violinist Victor Danchenko for the Shostakovich Violin Concerto on September 30; violist Richard Field in Thea Musgrave's Viola Concerto on October 6 (please note that this concert has a distinctly Scottish flavor, since it also includes Peter Maxwell Davies' An Orkney Wedding with Sunrise); and soprano Phyllis Bryn-Julson on February 27. Murai has made a tradition of programming a Mahler Symphony each year with the Peabody Symphony Orchestra—this season the Mahler Sixth on February 1 and 3. Orchestra concerts also permit the showcasing of the winners of Peabody's own in-house competitions: marimbist Orlando Cotto, winner of the Yale Gordon Concerto Competition on October 21, and Wendy Chen, winner of the Harrison L. Winter Piano Competition, on February 7. The April 2 PSO concert features music by Stravinsky, Bartok and Janacek and the April 30 concert will bring

Hajime Teri Murai

guest conductor Richard Pittman to town. Pittman will be presented with the Peabody Distinguished Alumni Award on stage after intermission. The last Peabody Concert Orchestra concert on May 1 will have a decidedly jazzy feel with Gershwin's An American in Paris and a Duke Ellington work to be announced.

Orlando Cotto

Choral/Vocal Concerts

One of the big happenings of the season will take place at the Meyerhoff on April 25 and 26, when members of the Peabody Symphony Orchestra and Peabody Singers and other choral forces will join the Baltimore Symphony Orchestra for a performance of the Berlioz Requiem. Apart from the Myerhoff event, Peabody presents some particularly varied vocal concerts of its own with the Peabody Singers, directed by Edward Polochick, and soprano Phyllis Bryn-Julson, performing music by Charles Boone, Luciano Berio, Gyorgy Kurtag, Georges Aperghis, Richard Felciano and Cathy Berberian on October 28 in the "Music for the Close of the Century" series, preceded by a Panel Discussion. The Peabody Singers, Peabody Chorus, and Peabody Concert Orchestra, under Polochick's baton, will perform Poulenc's Gloria, on December 9 and the Peabody Singers and Chorus will offer Rossini's Petite messe solenelle on April 21.

Peabody Opera Theat re

Peabody Opera Theatre productions, under Artistic Director Roger Brunyate, are the jewels of Peabody's concert season, combining as they do the the finest vocal forces and orchestra players in the school with imaginative stagings. In November, Peabody will set the tone for the festive season with a presentation of the first and still the greatest Viennese operetta, Die Fledermaus, by Johann Strauss. This frothy sex farce, where pleasure is the goal of life, is set in the golden age of Vienna. As sparkling as the new champagne, the opera is famous for its grand Masked Ball. Sung in English, the opera will be directed by John Lehmeyer and conducted by Hajime Teri Murai, on November 16, 17, 18 at 7:30 p.m. and on November 19 at 3 p.m.

The spring production on March 14, 15 and 16 offers a double bill of Ravel's L'heure espag-nole and L'Enfant et les sortileges. The first is a sophisticated farce about a clockmaker's wife who takes advantage of the one hour her husband is absent each week to entertain her lovers, hiding each one in a convenient grandfather clock whenever the next one arrives. The second tells the story of a naughty child who is visited during the night by the household objects and animals he has hurt during his daytime fits of tem-per.Both operas, directed by Roger Brunyate and conducted by Edward Polochick, will be sung in French. They are distinguished by the color and variety of Ravel's brilliant orchestration.A special

afternoon performance of L'Enfant only will be given for families on Saturday, March 16.

In late spring (April 27-29), the Peabody Opera Workshop will hold a miniature Festival of New Opera.The lead work will be Ari

Benjamin Meyers' The Defendants Rosenberg, based on the trial and execution of American atomic spies Julius and Ethel Rosenberg.

Music a t the Close of the Century

In the past quarter century, the classical music world has experienced profound changes. The ambitious goal of Peabody's 1995/96 Season is to provide a spectrum on new music as we near the close of the century. Peabody artists and ensembles will present a selective overview of contemporary symphonic, chamber, vocal, percussion, organ, and computer/electronic compositions from the 1960s to the mid 1990s, with many world or American premieres. There will be an emphasis on "chamber music as theater" and multimedia works, with innovative presentations by the Peabody Computer Music Consort, (Director, Geoffrey Wright), the Peabody Wind Ensemble (Director Harlan Parker), the Peabody Percussion Ensemble (Director Jona than Haaas), and the Peabody Camerata (Director Gene Young). Lectu res , panel discussions, and workshops will help bring new works into focus.

Peabody faculty member Phyllis Bryn-Julson has taken a lead role in helping to program the "Music for the Close of the Century" series and performs on many of these special events. Known around the world for her three-octave range and lustrous tone, Bryn-Julson is the soprano of choice for the most demanding contemporary vocal repertoire, with more than 50 recordings on all major labels to her credit. Her collaborations with leading composers from David del Tredici to Pierre Boulez have given her a shared Pul i tzer Prize and an insider's knowledge of the contemporary music scene.

Another faculty member who is strongly featured in this series is Jonathan Haas, who has twice won a Grammy Award as multiple percussionist on recordings with the late Frank Zappa. Equally at home performing a Mahler Symphony at Carnegie Hall or a Rock Concert at an Olympic Stadium, he brings high voltage excitment to the stage of Friedberg Hall on November 28 and February 12.

A special presentation of the Peabody Computer Music Consort & Computer Music Department, directed by Geoffrey Wright, will feature Max Mathews, Maureen Chowning and Dexter Morrill.The program will begin at 6:30 p.m. with a lecture on "The Beginnings of Computer Music at Bell Labs," followed by a "Live Performance of

Continued on page 14

Sept/Octl995 Peabody News 13

THE JOHNS HOPKINS UNIVERSITY OFFICE OF SPECIAL EVENTS

PRESENTS

THE EMPIRE BRASS IN CONCERT

North America's finest brass quintet, renowned for its brilliant virtuosity and the

unparalleled diversity of its repertoire.

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THIS PRESENTATIONIY ARSANCEMENT WITH COLUMBIA ARTISTS MANAGEMENT, INC.

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Continued from page 13

Computer Music with the Radio-Baton and Conductor Program." Our next issue will give more details of another major presentat ion on November 1, by Music Mobile, (the Contemporary Music Chamber Ensemble & Electronics), with Artistic Director Martin Matalon, and percussion soloist Steven Schick, that will feature the U.S. premiere of a "Piano Solo" by Pierre Boulez. This will be an event of national importance so mark your calendars now.

Sylvia Adalman Artist Recitals

Ju l ianne Baird and Ronn McFarlane open the season on September 13 with some of the most beautiful lute songs in the repertoire . McFarlane's recordings of lute songs on the Dorian label have been singled out for praise by Time magazine. One of the finest lutenists in the country and on the faculty at Peabody, McFarlane is also a member of the Baltimore Consort which tours nationally.

The Chicago Tribune remarked after a McFarlane recital: "His intense concentra-

Sept/Oct 1995

The Peabody Concert Season. tion, technical prowess and rapport with the audience showed that, in time, he could become the Segovia of the lute." That time has come. The Washington Post recently commented: "If he played the violin or cello as well as he plays the lute, Ronn McFarlane would be internationally famous; his talent is comparable to James Galway's for the flute or Yo-Yo Ma's for the cello."

Of course, folks around Peabody, where McFarlane is on the faculty, don't need to be told that. They have known for a long time that we have one of the best lutenists in the world living right here in Baltimore. Which is why it is a particular pleasure to invite readers to judge for themselves when Ronn opens this season's Sylvia Adalman Artist Recital Series at Peabody on Wednesday, September 13, at 8 p.m. He is joined by soprano Julianne Baird to perform some of the most beautiful and haunting lute songs in the repertoire.

Oddly enough, McFarlane came to the lute via an early exposure to a steel string guitar on which he played blues, rock and popular music. He switched to classical gui tar , studying at Peabody where he turned his full attention to the lute in 1978, playing both the renaissance and baroque lute. He is a member of the Baltimore Consort, and records exclusively for the Dorian label which has issued three discs of his solo lute music, three lute-song albums with Julianne Baird and Frederick Urrey (these highly praised by Time magazine for their "timeless charm and pith that are captured with effortless grace by that remarkable lutenist Ronn McFarlane"), and six ensemble recordings with the Baltimore Consort.

The Peabody Trio, who perform on October 18 and February 21, have lit up the chamber music scene at Peabody since becoming Trio-in-Residence at the school a a few years back. Stephen Wigler, reviewing last season'sm performance of Beethoven's "Archduke" Trio, for the Baltimore Sun, wrote: "This was an essentially lyric performance that seemed principally guided by Seth Knopp's crystalline piano playing, but it created a framework in which the composer's beautiful lines and extraordinary energy were also permitted to sing out on Violaine Melancon's violin...." The Trio, which now includes cellist Thomas Kraines, are joined by guest artists Alison Potter, flute, and Gary Louie , saxophone, for their October 18 recital, which includes the Baltimore premiere of William Albright's Rustles of Spring.

The November 28 recital brings soprano Phyllis Bryn-Jul-

Julianne Baird and Ron McFarlane

son, Jonathan Hass (Percussion and Conductor), percussionist William Moersch, harpist Ruth Inglefield and the Peabody Percussion Ensemble together in a program of music by Jacob Druck-man, Pierre Boulez, and Luciano Berio in the "Music for the Close of the Century" series.

Dates for 1995 include Roberto Diaz, now Principal Violist with the Philadelphia Orchestra, and gui tar is t Ju l i an Gray, whose recordings have won nat ional acclaim for their "breathtaking dynamic sensitivity and near-orchestral lushness," on January 31; The Baltimore Wind Quintet, composed of Peabody faculty who are also Principals in the Baltimore Symphony Orchestra , hailed by the New York Times as "absolutely first rate...for drive-and drama, as well as individual virtuosity," on March 5; Donald Suther land, who has given recitals on some of the world's most famous organs from Notre Dame in Paris to Westminster Abbey in London, performing on March 27 at Old St. Paul's Church in downtown Balt imore; and Ronald Thomas, Artistic Director of the Boston Chamber Music Society, on April 16.

Peabody Renaissance Ensemble

The Peabody Renaissance Ensemble will transport us back on December 1 and May 3 to a time when lutes and viols were the ins t ruments of kings and queens.

Peabody Jazz Ensemble

Under the enthusiastic direction of David Bunn, the Peabody Jazz Ensemble is making it known that Peabody is a jazzy place these days. Find out for yourself on December 3 and March 31.

Roudolf Kharatian

The Peabody Preparatory

In addition to faculty and honors recitals, the Prep will present on December 14 and 15 a Ballet evoking the flight of the seagull, with guest choreographer Roudolf Kharatian. A graduate of the fabled Vaganova Ballet Academy of St. Petersburg, Kharatian has toured extensively with the Bolshoi Ballet and other companies and has starred in five films.

Call the Peabody Box Office at 410/659-8124.


Russian Violinist Victor Danchenko Solos with Peabody Symphony Orchestra

The esteemed Russian violinist Victor Danchenko is soloist for the Shostakovich Violin Concerto on Saturday, September 30, at 8 p.m. in Friedberg Hall. This concert launches the season's Ruth Blaustein Rosenberg Peabody Symphony Orchestra Series at Peabody under the baton of Music Director Hajime Teri Murai.

Danchenko has been hailed by the Times of London as "sinewy... fiery and forceful." Now on the Peabody faculty, Victor Danchenko was a student of the revered David Oistrakh at the Moscow Conservatory in the 50's and early 60's. In 19967, he was the recipient of the Ysaye foundation's Gold Medal among other honors and prizes.

Danchenko ascended into the top strata of Soviet artists until his artistic and political independence led him to emigrate to Canada in 1977. He now makes his home in Baltimore, where he links Peabody with the legendary Russian school of violin playing with its superhuman technique and expressiveness.

"Peabody's high standards," says Danchenko,"remind me of the Moscow Conservatory in its golden age."

At the same t ime, Mr. Danchenko has strong ties to the American musical heart land. For several years he was a faculty

member both at Meadowmount— the summer violin school made famous by Ivan Galamian-and the Encore School.

What the concert circuit does not know about Victor Danchenko is that, in addition to music, he has a passion for sports and is a tremendous soccer fan. He subscribes to a world soccer magazine and watches the big games

CONCERT 4#ARTISTS OF BALTIMORE

EDWARD POLOCHICK, ARTISTIC DIRECTOR

1995-96 SEASON, LECLERC HALL

THE COLLEGE OF NOTRE DAME

SATURDAY, NOVEMBER 4 8PM

PFITZNER: ELEGY AND ROUNDS

MOZART: CONCERTO FOR FLUTE, HARP AND ORCHESTRA

Kristin Winter-Jones, Flute • Caroline Gregg, Harp PUCCINI: MESSA DI GLORIA

SATURDAY, FEBRUARY 10 8PM

BRIDGE: SUITE FOR STRING ORCHESTRA

BRITTEN: HYMN TO SAINT CECILIA

TCHAIKOVSKY: VARIATIONS ON A ROCOCO THEME FOR CELLO & ORCHESTRA

Marcio BoteUio, Cello HAYDN: SYMPHONY #104, LONDON

SATURDAY, MARCH 30 8PM

VIVALDI: CONCERTO FOR VIOLIN, FLUTE, OBOE AND BASSOON

BACH: CANTATA #147, HERZ UND MUND

BACH: ORCHESTRA SUITE #3

BACH: CANTATA #191, GLORIA IN EXCELSIS DEO

SATURDAY, MAY 11 8PM DURUFLE: REQUIEM

BEETHOVEN: CONCERTO FOR VIOLIN AND ORCHESTRA Josi Cueto, Violin

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Richard Field Performs Thea Musgrave's Viola Concerto

"Though Richard Field has a strapping physique, he knows how to coax tender lines out of his viola." He played "with technical ease, security of intonation, and a beautiful tone...a real sensitivity." "Field played with a masculine sound and an assured technique..."

This is some recent critical acclaim for the Peabody faculty member who is principal Violist with the Baltimore Symphony Orchestra. "Violists around the country admire his work,' wrote Stephen Wigler in the Baltimore Sun, "and he's helped to make the BSO's viola section among the best in the country."

Richard Field will be the soloist with the Peabody Concert orchestra on Friday, October 6, in Friedberg Hall. He will perform the Scottish composer Thea Musgrave's Viola Concerto. Field is fully conversant with contemporary works, having made a reputation for doing the "demanding" repertoire. He has himself commissioned new viola concertos, most notably one by Cary Ratcliff which won an ASCAP award. This Peabody faculty member is

active around the country in chamber music performances with ensembles like the Chamber Music Society of Lincoln Center.

S I W E R HALL CONCERT SERIES 30th Anniversary

1995-1996 SEASON

Ticket and Subscription Information

(410)516-7164

"Baltimore's best classical chamber music series." Baltimore Magazine

BEAUX ARTS TRIO Sept. 30, 8:30 pm

PETER SERKIN, piano Oct. 22, 7:30 pm

EMERSON STRING QUARTET Dec. 10, 7:30 pm

LAUREN WAGNER, soprano Feb. 4, 7:30 pm

Yale Gordon Young Artist

PAMELA FRANK, violin Mar. 16, 8:30 pm CLAUDE FRANK, piano

STEPHEN KATES, cello Apr. 13, 8:30 pm Piatigorsky Memorial Concert

TASHI May 5, 7:30 pm

Artwork by Susan L Roth


"The Prophetic Eye:" The George Peabody Bicentenary Exhibition Opens in Baltimore

The Prophetic Eye, an exhibition celebrating the bicentenary of the bi r th of George Peabody, American patriot, international financier, and the first great philanthropist of modern times, opens in the Arthur Friedheim Library and the Peabody Archives' Galle-ria Piccola on October 6 and runs through the end of the year.. The exhibition will explore Peabody's links to Baltimore where he began his rise to international fame and examine the lives of the men that made up his circle of friends. George Peabody and men like Johns Hopkins, Enoch Pratt, and William and Henry Walters would ultimately transform the cultural life of the region, creating cultural institutions that would carry their names into the twentieth century. A contemporary of Peabody, John Pendleton Kennedy wrote:

There was a grander race of merchants in those days...they were larger in their views, and larger in their hearts —gave more time and money to public enterprise, were more elegant and more generous in their convivialities, more truly representative of a refined upper class, more open of hand and more kind to the world,

than any society we have had since...They were of the Venetian stamp, and belong to the order of what the world calls merchant princes — not so much in magnificence as in aim and intention.

Baltimore, the scene of Peabody's earliest success in business, was also the place where he experienced his first disappointment in romance. Visitors to the exhibition will be able to see the portrait of the woman who twice turned down his offer of marriage and the engraving "George Peabody, Maryland's Friend" commissioned by the State of Maryland as a gesture of thanks for his successfully marketing the bonds that made possible the expansion of the Baltimore and Ohio Railway and the Chesapeake and Ohio Canal, and then refusing his commission.

Many of the objects in the exhibition, including the celebrated Crystal Palace Violin crafted by William Booth in 1852 of wood exhibited at the Great Exhibition, have come directly from the exhibition at the Museum of London. Also from London, courtesy of The Pierpont Morgan Library, are the rare portraits of Peabody's part-

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ner, Junius Spencer Morgan and the young John Pierpont. They will be enhanced by the addition of a number of newly acquired objects, including a lovely 19th-century handcolored lithograph of the young Queen Victoria made at the time of her coronation, when George Peabody took up residence in London. Also on exhibit will be the extraordinary life-size 1866 portrait of George Peabody made possible by the development of the Photographic Solar Enlarger, the invention of Balt imore a r t i s t David A. Woodward.

The Archives' Galleria Piccola is open to the public from 10 a.m. until 4:30 p.m., Monday through Friday. For further information, call the Peabody Archives at 410/ 659-8257.

The Lord Mayor of London hosts a Dinner in Memory of George Peabody

By Elizabeth Schaaf

At 3 p.m. on July 10, 1862, the cry went up in London's magnificent Guild Hall: "Pray silence for the Lord Mayor." Arrayed in bright scarlet robes and wearing his gold chain of office, the Lord Mayor entered the great hall . Aldermen clad in scarlet and Councillors arrayed in violet robes trimmed with white fur stood in attendance as George Peabody became the first American to be given the Freedom of London. Later that evening, a banquet for three hundred guests was given in his honour at the Mansion House.

This spectacular event was recreated this past July 10 at the Mansion House, official residence of the Lord Mayor since the time of the legendary Dick Whitting-ton. A gilt-edged engraved invitation was waiting for me when I arrived for the close of the Peabody Bicentenary Exhibition at the Museum of London. The grand occasion was a black-tie affair sponsored by the Peabody Trust and the Morgan Grenfell Group. Guests were to arrive at 6:45p.m. and, in the wording of the invitation, plan to have their carriages call at 10:30 p.m. to carry them home. My "carriage" to the Mansion House was provided by the London Underground. I had the good fortune to be accompanied by my husband, Larry.

London was in the midst of a heat wave worthy of Baltimore and many of us arrived looking slightly wilted that sultry Monday evening. We were revived with the glasses of champagne at the end of the receiving line. Officers of

the Peabody Trust , Lords and Ladies, Admirals, Archbishops, Bankers and Members of Parliament chatted amiably and mingled as liveried waiters glided amid the throng bearing silver t rays laden with savories. Promptly at half seven, the guests were ushered in to the elegant Egyptian Hall for a grand multi-course dinner worthy of a Peabody entertainment.

Loving Cups, provided by The Worshipful Company of Fishmongers and the Worshipful Company of Clothworkers (Peabody was a member of both Companies), were carried to the table by white-gloved waiters and sent 'round as they had at Peabody's dinner celebrating the closing of the Great Exhibition in 1851. This old English drinking custom harkens back to the time when the Romans occupied Britain. Tradition dictates that the person who receives the cup is to stand and bow to his neighbor and raise the cover with his right hand (the dagger hand), holding it aloft while his neighbor drinks. This practice is said to have been introduced after King Edward the Martyr was slain while drinking. There seemed little likelihood of an attack since we'd all passed through metal detectors and had our evening bags x-rayed by earnest looking men in dark suits.

After the Loving Cup had made its way around the table, there were Toasts to The Queen, to the Queen Mother, and the Royal Family followed by toasts to the Lord Mayor and the guests and finally, to the man of the day, George Peabody. The Rt. Hon. the Lord Mayor Alderman Sir Christopher Walford, His Eminence Cardinal George Basil Hume, Roman Catholic Archbishop of Westminster , and John Craven, Chairman of Morgan Grenfell Group spoke after the dinner as the guests enjoyed their port.

The carriages had been waiting more than half an hour by the time the guests made their way down the grand stairs. We succumbed to the temptation of a stroll around nearby St. Paul's Cathedral before finding our "carriage" in the Tube Station nearby.


Eileen Cline to Connect Arts Community with Policymakers

Dr. Eileen Tate Cline, Dean of the Peabody Conservatory of Music from 1983-95, has been appointed University Fellow in Arts Policy at The Johns Hopkins University Institute for Policy Studies. The appointment is the first of its kind for the Policy Studies Institute which has long recognized that the arts play a vital role in the overall fabric of a community's life.

Dr. Cline, a nationally known authority on music education, will promote connections between administrators, faculty and students in music institutions and the people who are most influential in the research and development of arts policy nationally.

After more than four decades as an arts practitioner, teacher, adminis t ra tor , author , researcher, and community worker, Dr. Cline refers to this appointment as "a long-awaited opportunity to follow up on th reads of observations and research projects accumulated over the past half century."

Keenly aware of what seems to be a growing gap between music professionals and the policy-making enterprise, she says: "If someone asked you where to go for information on the value of the ar ts in society, would you know where to find empirical data, from sociological and medical to educational and economic? There have been numerous studies addressing these issues; and there have been compellingly stellar school and community results here and abroad that illustrate the verity of those findings. But this information is far from being generally and widely known."

As a Fellow at the Policy Studies Institute, Dr. Cline will explore ways to mobilize the expertise of leaders of regional cultural institutions.

Dr. Eileen Cline's tenure as Dean of the Peabody Conservatory was marked by significant program development and a dramatic increase in Peabody's student body and enhancement of their professional accomplishments.

Eileen Cline speaks of her 13 years at Peabody as a "treasured time." She says with pride: "I have seen Peabody in the past dozen years become an ever more humane and powerful institution. I have deeply appreciated all the faculty, staff and students and their partnership in a common cause." She continues: "I look forward to continuing work in a yet larger arena to broaden understanding and support for what we do. We have yet miles to go before we sleep."

Dr. Cline earned a doctorate with Highest Distinction from Indiana University and she has engaged in postdoctoral studies at

the Aspen Inst i tute Executive Seminar and Harvard Institute for Educational Management. Among the institutions on whose boards and committees she currently serves are: the American Symphony Orchestra League; Harvard Universi ty John F. Kennedy School of Government's Non Profit Policy and Leadership Program; Kenan Institute for the Arts in North Carolina; Johns Hopkins University President's Committee on the 21st Century; Baltimore Symphony Orchestra Music, Education , and Community Outreach Committees; and the Van Cliburn International Piano Competition.

Designers Galore, Fashions Soar to Benefit Hopkins Hospital

Designer dresses, vintage clothing, top-notch contemporaries and classic accessories will be put on the racks for the Johns Hopkins 1995 Best Dressed Sale and Boutique. The sale will be held once again at the Evergreen Carr iage House, 4545 North Charles St., on Sept. 28, 29 from 9 a.m. to 7 p.m. and Sept. 30 from 9 a.m. to 4 p.m.

"Last year's sale raised over $115,000," says Mary J. Moses, co-chairperson of the sale and member of The Johns Hopkins Women's Board, which sponsors the event. "Imagine buying Chanels, Lois Ferrauds, Ungaros, Escadas and Fabrakants at a fraction of their original price. It's a shopper's delight."

All proceeds benefit patient-care programs at The Johns Hopkins Hospital, which was named Top Hospital in the country by U.S. News and World Report for the 5th year in a row.

1995 - 1996

DISTINGUISHED ARTISTS SERIES

ALUMNI HALL UNITED STATES NAVAL ACADEMY

Central Ballet of China Thursday, November 9, 7:30 p.m.

Giuseppe Verdi: La Traviata New York City Opera National Company

Tuesday, January 23,7:30 p.m.

Moscow Virtuosi Thursday, February 29, 7:30 p.m.

"A Night at the Opera" USNA Glee Club with the Annapolis Symphony Orchestra

Saturday, April 13, 7:30 p.m.

A Funny Thing Happened on the Way to the Forum The USNA Glee Club

February 9, 10, 16, 17, 23 & 24 at 8:00 p.m. February 11 & 18 at 3:00 p.m.

Chapel Concert Series James Dale, organist

Friday, September 15, 8:00 p.m. "Organ Fireworks" Friday, October 27, 8:00 p.m. "Ghosts and Goblins" Friday, December 15, 8:00 p.m. "Christmas Cheer"

Sunday, March 24, 3:00 p.m. "Bach's Birthday Concert"

Handel's Messiah December 9 at 8:00 p.m. & December 10 at 2:30 p.m.

Tickets: l-800-US4-NAVY«(410) 268-6060

in residence at Howard Community College

in Columbia, MD.

1995-96 SERIES

"THE FLYING TONGUES"

THE IMPORTANCE OF BEING EARNEST

by Oscar Wilde

JEFFREY by Paul Rudnick

BROKEN GLASS by Arthur Miller

0LEANNA by David Mamet

FROM THE MISSISSIPPI DELTA by Endesha Holland

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THE CATHEDRAL CONCERT SERIES

Robert Twynham, Director

All concerts are free and are at 5:30 P.M., unless otherwise noted.

Sept. 7 (7:30 P.M.) The Pendyrus Male Choir (from Wales)

Sept. 21 (7:30 P.M.) At The Basilica A concert in celebration of the Baltimore visit of Pope John Paul II. The Cathedral Choirs, the Choir of Old Saint Paul's, the Baltimore Symphony Chorus and the Baltimore Symphony Orchestra, Gilbert Levine, Conductor. Sponsored by the Peggy and Yale Gordon Charitable Trust.

Oct. 15 An Ecumenical Choral Concert

Oct. 22 Leslie Marrs, Flutist and Eric Seidl, Guitarist

Oct. 29 Virginijus Barkauskas, Organist

Nov. 5 Martin David Jones, Pianist

Nov. 12 Joseph Stephens, Pianist

Nov. 19 Fred Jacobowitz, Clarinettist

Nov. 26 The Towson State University Early Music Ensemble presenting The Play of Daniel

December 17 - The Cathedral Choirs Robert Twynham, Director Adric Macsisak, Organist

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Bret Hershey's Magic Lives On

Bret Hershey surrounded by Tench Tilghman Elementary schoolchildren. Photo: Vince Rodriguez.

A young m a n who touched the lives of hundreds upon hundreds of children will be missed for years to come. Bret Hershey died of leukemia this past May. A former chairman of the Peabody P r e p a r a t o r y ' s Ea r ly Childhood d e p a r t m e n t , he h a d b e e n t h e shining light of the Prep's Outreach Program in Baltimore City public elementary schools for the pas t seven years , implement ing a n d e x p a n d i n g a p r o g r a m for music educat ion in early childhood t h a t b e c a m e a n a t i o n a l model.

Bret will be mourned but he will continue to touch the lives of hundreds of children he will never meet. The program that he taught a t Tench Ti lghman Elementa ry School on Patterson Park Avenue will continue, thanks to a recently announced $20,000 g r a n t from the Thomas Wilson San i t a r ium for Children of Baltimore City, a non-profit, charitable corporation devoted to improving the heal th and welfare of Baltimore children. This follows an additional grant of $25,000 from the Abel Foundation for the 95/96 school year. Initial funding for the Prep 's Outreach P r o g r a m in B a l t i m o r e schools came from the The Abel Foundat ion , B a n k of B a l t i m o r e , t h e H e a r s t C o r p o r a t i o n , a n d t h e Aaron and Lillie Strauss Foundation.

W a t c h i n g B r e t t e a c h w a s always a moving experience. How this slight young man, painfully th in in recent years since being diagnosed with leukemia in 1991, could have a class of thirty-odd young ch i ld ren h a n g i n g on his eve ry so f t ly - spoken word a n d responding with the appropriate song, dance or mime, was a miracle. Legend has it tha t St. Francis of Assisi had tha t kind of magic with animals. Bret Hershey quite simply had it with children. Children from disadvantaged homes, chi ldren wi th severe emotional handicaps or behavioral problems, children with learning difficulties, n o r m a l ch i ld ren wi th a super a b u n d a n c e of ene rgy f a s t ened their eyes on a young man often

to be found sitting crosslegged on the classroom floor who t a u g h t t h e m m u s i c a n d m u c h , m u c h more....

El izabeth Turner , pr incipal of Tench T i l g h m a n , descr ibed him as "a gifted teacher who had a special spark t h a t ra ised the self-esteem of all t h e boys and girls and taught them the importance of self discipline. He set the tone t h a t made them accept one another and stressed the idea tha t it was important to know who you are."

Following Bret's death, there was an outpouring of newspaper articles and other tributes. An Op Ed piece in t he Bal t imore Sun, wri t t en by Glenn McNat t , commented: "People think of musical g e n i u s in t e r m s of g r e a t composers or performers. But some m u s i c i a n s h a v e a g e n i u s for teaching, and their gift is every bit as extraordinary as tha t of any

virtuoso violinist or piano player. Mr. Hershey was such an artist."

Heartwrenchingly, the Tench Tilghman Choir sang at the two m e m o r i a l s e rv i ces for t h e i r beloved teacher , one a t Cent ra l Presbyter ian Church in Towson and another at his home church, Grace B a p t i s t , in L a n c a s t e r , Pennsylvania. Bret was originally from the small Pennsylvania town of Quarryville, in the Lancas te r a rea . P rep Dean F r a n Zarubick attended the service in Lancaster. Bret's death moved her so deeply t h a t s h e w r o t e a poem in h i s memory, t i t led simply "Mr. Bret You Are Spring." The poem captures the young man, who was a sharp dresser, liked good food and fun, took a thoughtful, structured, disciplined approach to his teaching, and loved children. The secret of his magic was in that love.

That is why it is so important tha t Bret Hershey's work should continue. The Outreach Program of the Peabody Prep was developed o r ig ina l ly by P r e p E a r l y Childhood faculty member Anita Cooper. Anita was later joined by Bret t Hershey and Vicki Downer who t a u g h t the program a t t he Ashbur ton , Barc lay and Tench Tilghman schools. Another Prep faculty member, Sonia Inglefield, will now join Vicki and Anita a t Tench Tilghman to replace Bret.

Bu t in one sense , Bre t can never be replaced. He was a rare a n d d e d i c a t e d a r t i s t - t e a c h e r , whose flame b u r n e d for all too s h o r t a s p a c e , b u t i t b u r n e d brightly and still provides light to guide our path.

:

Bret Hershey's involvement with Tench Tilghman inspired a fund to help children at the school with special musical talent. The Rachel Shapiro Scholarship Fund provides assistance for these pupils to take private music lessons at the Peabody Prep. Seventeen-year-old Peabody Prep ATY student Rachel Shapiro, who has been teaching violin at Tench

Tilghman for practical experience in her pedagogy studies, asked her friends to contribute to the fund instead of giving her a graduation present when she graduated from Park School and the Peabody Prep this spring. The Fund thus continues the work of the Outreach Program. Rachel is the daughter of Peabody Advisory Council member Linda Shapiro.


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Roland Park i

S C H O O L O F B A L T I M O R E

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OPEN HOUSE • NOVEMBER 5,1995 • 1:30 P.M.

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a Towson State University's

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Working toward a new vision of theatre for the 21st century..

• new works • collaborative ensembles • solo performances • intercultural projects

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for more information call 410-830-3851

Arts Programs at The St. Paul's Schools

The Ward Center for the Arts THEATER SATURDAYS- Classes begin September 16 for students in grades three through twelve, 9-12 p.m. Classes include acting, dance, movement, voice, and musical theater.

MARYLAND INSTITUTE, COLLEGE OF ART- Non-credit Continuing Studies classes for youngsters & adults in drawing, painting.watercolor, cartooning, ceramics, & painted furniture, weeknights &. Saturdays

For more information on the two programs, or a calendar of upcoming events at The Ward Center for the Arts, please call Paul J. Tines at 825-4400.


ANNAP<®>LT<S

S E P T E M B E R 1 6 - ' S E P T E M B E R I 7-C H I L D R E N ' S O P E R A BY M O Z A R T M U S I C A L E - S O N G S F R O M T H E

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The Central Ballet of China performs

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on November 9 Call 1-800-US4-NAVY or

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Lydia Laurans Appointed Screen Actors Guild's Delegate

Lydia L a u r a n s h a s been appointed Screen Actors Guild's delegate on the Dancers ' Committee for new contract negotiations with the Alliance of Motion Picture and Television Producers. She is a Business Representative with SAG, the entertainmen t indus t ry ' s most powerful union, with 40,000 members in Hollywood.

Lydia g r a d u a t e d from t h e Peabody Insti tute 's Preparatory Department in Ballet (1970) and in Piano (1971). She was also a scholarship s tudent in Spanish Dance and performed with the Maria Morales Spanish Dancers.

Lyd ia w a s a m o n g t h e Peabody s t u d e n t s se l ec t ed to appear with the Stuttgart" Ballet Company, and wi th t h e Bal t i more Opera Company in Rigolet-to and Aida. While dancing in Rogoletto, Lydia was "discovered" by R.P. Harr iss , Ente r ta inment Ed i to r of t h e Baltimore News American. He wrote an ar t ic le abou t he r , which led to a job interview a t the newspaper. She worked as a staff writer for five y e a r s , p a y i n g h e r own w a y

through Towson State University. She earned a Bachelor of Arts degree in Biology from TSU and a Juris Doctor from University of Maryland School of Law. After becoming a member of the Maryland Bar, Lydia also worked as an actress, model and dancer in New York and Hollywood.

IS YOUR VACATION HOME ALL WORK AND NO PLAY?

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Baroness Katharine Harris van Hogendorp's Memories of Serving with the Red Cross in World War II

I Mft

One night in the summer of 1942, a young woman was pacing up and down the campus at Duke University with a difficult decision to make. An Artist Diploma graduate from Curtis, Katharine Harris had been appointed Artist-in-Residence at Duke University and was now offered a job as head of the music department at Baylor University in Texas. But her two brothers, Charles and Carlton, had just been drafted into the Army. Katharine felt strongly that she should serve in some way, too. So instead of going to Baylor, she joined the Red Cross. Ironically, the two brothers both got medical deferments and it was Katie, then in her mid-twenties, who went off to war.

Posted to a jungle base at Chakulia in India, the next two years provided some extraordinary experiences. Peabody News is

In the garden of her house in Roland Park, Katharine van Hogendorp shows the patch that she wore on a secret reconnaissance mission over Japanese-occupied Burma so that she could be identified if the plane was shot down. Above leftiKatie Harris in Red Cross uniform.

proud to be the first to publish excerpts from her memoirs. For our Baltimore readers, we give a little more background on this remarkable Roland Park resident who grew up in Baltimore, beginning music lessons at the Prep as a child and then studying voice with Frank Bibb and piano with Alexander Sklarevsky at the Conservatory for two years before going on to Curtis where she was a pupil of Madame Elizabeth Schumann. Katharine's family was a musical one. Her father was a Methodist minister and her moth

er, a concert pianist, had studied piano in Leipzig. Katie's sister, Anna Bernice Harris, graduated with a Bachelor's from Peabody and brother Charles studied singing there with Frazier Gaines. Although Charles opted for a career in the law, later becoming a judge, this early music training led him to a job as music critic of the Baltimore S u n for a short term before the appointment of Wheldon Wallace. He and his sister also used to perform together, once before 40,000 people at a Baltimore Symphony concert in Druid

Hill Park. After the war, Katharine Har

ris resumed her musical career. In 1946, she found herself sharing a platform with Eleanor Roosevelt at Boiling Air Force Base to sing in a ceremony honoring General Marshall for his introduction of the Marshall Plan. She has a clipping of the photo of herself with Eleanor Roosevelt, that appeared on the front page of the Washington Post.. On that occasion, she was accompanied by another Peabody alum, the famous organist Virgil Fox, at that time conductor of the US Air Force Band. The returned Red Cross service-woman was also the featured performer at a White House ceremony hosted by President Truman and his family to present Congressional Medals of Honor to soldiers who had lost limbs in the war. When he heard her sing, Truman exclaimed: "If this is what we gave the boys overseas, no wonder we won the war!" Later, Katharine was soprano soloist at Brown Memorial in Baltimore from the year Virgil Fox became organist at that church. She also hosted from 1947-48 a popular radio program on WFBR entitled "Songs at Seven." In 1948, Katharine married a titled Dutchman, and can claim the title "Baroness," although she does not use it. Today she lives in a tranquil street close to Bryn Mawr school, far removed from the primitive hut that was her home for almost two years in the jungles of India.

The n igh t was moonless . I t seemed darker than usual, scary. T h e r e were no v i s ib l e l i g h t s . Water lapped lazily against a pier. Suddenly, there was the sound of soldiers' heavy footsteps climbing a gangplank! we must be boarding a ship. The hours before had been spent on blacked-out t r a ins and windowless vehicles. Secrecy was paramount. We had no idea where we were or where we were going, jus t sheep following the leader.

I t was December , 1943. We were in the thick of World War II. I had signed an agreement with the National Red Cross to join the Armed Forces and serve wherever needed for t h e d u r a t i o n of t h e war.

Th i s conver ted t roopsh ip , I found out la ter , was the former Empress of Japan, one of t h e fastest vessels afloat. Because of her speed, it had been decided she would travel without convoy, taking t h e s o u t h e r n rou t e a r o u n d Africa

Once aboard ship, we found the accommodations were miserable. Sixteen of us , nurses and Red Cross volunteers, were crowded into a cabin designed for four! T i m e s c h e d u l e s h a d to be a r r a n g e d for g e t t i n g up in t h e m o r n i n g a n d for b u n k i n g in a t n ight so we wouldn' t bump into each other. In order to feed everyone, chow lines started forming a d a y b r e a k a n d c o n t i n u e d u n t i l midnight.

For tunately , there was some o u t s t a n d i n g t a l e n t a m o n g t h e draftees on board, and before long a topnotch show was put together. I was a singer and was included in the program, a godsend for me. It n o t only r e l i eved t h e t e n s i o n , which seemed to build up relentlessly, but it also was a relief from sitting on a hard deck all day. And t h a t depended on w h e t h e r you were lucky enough to find a space. The show was given twice daily, and always to a different group of G. I . s . The r e s p o n s e w a s over

whelming. It was , after all, the only means of diversion.

The Captain spoke to us daily over loudspeakers, warning us of impending danger. "It is suspected that enemy submarines are on our trail," he said. "Even a cigarette but t thrown overboard could be enough to give t h e enemy a clue to our location. You will be allowed on deck from sunr ise to sunset. During the evening hours t h e ou t s ide of t h e sh ip will be completely darkened." He warned us to s tay fully clothed, to wear our Mae West life jackets, and to carry musette bags (survival gear) twenty-four hours a day.

The only pleasant diversion on our voyage w a s w h e n , s t r i c t l y against the regulations, a few of us sneaked out on deck one night to behold The Southern Cross.

On the twenty-eighth day, we landed in Bombay, India . After several days we embarked on a "troop t r a i n " for our week long journey to Calcutta. This was our introduction to the great land of "Mystery and Romance," which the G.I.s before long changed to "Dysentery and No Chance."

After several weeks of orientat ion in Calcut ta , I took off in a small plane for my assignment. As we approached my des t ina t ion , the pilot circled this new Air Force base being constructed in the jung l e s . " T h a t ' s C h a k u l i a down there," he said. "We're jus t about 200 miles west of Calcutta. Hey, look at the size of those runways they're building, must be for some kind of new plane they're working on back in the States. It's a cinch we don't have a bomber yet tha t can stay airborne long enough to bomb the hell out of the Japs and m a k e i t back to India . And you



Memories of World War II Continued from page 21

know what? Those Japs are moving fast. They've taken almost all of our bases in China. Well, I've gotta' get back to Calcutta. I miss t h e smel l of b u r n i n g d u n g . So long." He was off.

I h a d e x p e r i e n c e d so m a y doubts these last seven weeks, I felt reluctant to leave the plane. It seemed to be my last escape. I had finally reached my des t ina t ion . Now there really was no turning back!

A cheery voice g r ee t ed me . "I'm Pat MacDonald from Green-burg, Pennsy lvan ia . I have t he room next to you." Pat continued, "you know we ' r e in a j u n g l e . You've got to w e a r s l acks a n d boots after sunse t , and a lways ca r ry a f l ash l igh t . The b a s e is d a r k e n e d a t n i g h t . You n e v e r know wha t ' s out t h e r e . An elep h a n t w a n d e r e d in t h e o t h e r n i g h t . Come on, I ' l l show you around the base."

She showed me a number of runways in the process of being built. The Army Engineers were feverishly working to complete t hem. There were end les s ba r racks, mess halls, a hospital, Officers' Club, and a large Red Cross C lub , r e c e n t l y c o m p l e t e d for enlisted men.

A young officer drove me to my quarters in a jeep, which had painted on its bumper, "Miss Carriage." I later learned every moving vehicle on that base carried a name. My driver left me, saying, "Enjoy your s tay!" I s tood and stared at the low building in front of me . I t w a s ca l led a " B a s h a Hut," and this was to be my home for an indef in i te per iod, for as long as the war lasted, or as long as I lasted.

My room was one of four to be shared with three other Red Cross worke r s . The h u t was m a d e of conc re t e , obv ious ly s l a p p e d together in a hur ry , over which hung a shabby looking tha tched roof. S u r r o u n d i n g t h e bu i ld ing w a s a four-foot p a t h m a d e of small stones, which, la ter I was told, d i s couraged s n a k e s from cross ing . T imid ly , I e n t e r e d a doorway measur ing about th ree by four feet, one of two entrances. The other was even smaller and led to an outhouse affair. The air was stifling and steam was pouring off the walls.

Against one of the walls was a bed, four boards held together by h e a v y ropes over w h i c h w a s spread a muddy colored Army-issue blanket to serve as a mattress. Why a blanket in temperatures ranging 100 degrees and up? Probably the idea of a behind-the-desk officer a t t he Pen tagon in Washington. Four more vert ical boards served as posters to hold up a limp mosquito net. A small mirror hung over a crudely made chest of d rawers , and a s imple

The Chakulia base in the jungles of India.was a staging area for the new B-29 Superfortress bombers that were eventually to be moved to Tinian and Guam.

wooden c h a i r c o m p l e t e d t h e arrangement.

Like every th ing else here , I soon found out the room was not mine alone. A hill of wet sand in the corner proved to be inhabited by a l a rge family of g i a n t t e r mi t e s ; and in a n o t h e r corner a pair of busy tarantulas were staking out their claim,

In bed that night I thought of the oft spoken works, "It might not be much, b u t i t ' s home." I t was mine for almost two years, and I suppose after a period of adjustment I felt some small semblance of affection for it. However, when I finally left, I shed no tears. I didn't even look back.

One day some mon ths after my a r r iva l , r umor s sp read like wildfire. "It 's coming today! The new plane will arrive at our base." It started as a whisper in the dist a n c e . T h e s o u n d of i t s four engines gradually increased to a roar. We looked upward and saw a magnif icent a i rcraf t circl ing to land. It was not only much larger a n d fas te r , b u t also capable of b e i n g a i r b o r n e c o n s i d e r a b l y longer than any existing plane. It carried a crew of thirteen.

T h i s w a s t h e f amous B-29 Superfortress, destined ultimately to drop the bomb that would bring t h e s u r r e n d e r of t h e J a p a n e s e Army and the end of World War II. More planes arrived every day, and the long missions across the Himalaya Mountains into Burma, I n d o - C h i n a and C h i n a became rou t ine . Up un t i l th i s t ime our duties centered around activities in the large clubhouse for G.I.s, as well as daily visits to the sick in our hospital.

As t h e w a r in t h i s C h i n a -Burma-India theatre escalated, so also did the number of planes and missions.

Katie's Red Cross comrade Pat Mac-Donald enlivened the hardships of the base with a ready sense of humor.

I soon observed the wai t ing period before an important event, especially if your life may be a t stake, can be a pretty hectic and nerve-rattl ing experience. I refer to the crews of B-29s waiting on a n a i r s t r i p for s e v e r a l h o u r s before takeoff on a mission. This thought gave another Red Cross worker and me serious concern. We wanted desperately to be able to do something to relieve the tension of the long pre-mission wait. If only we could v is i t w i th t h e crews, exchange a few words of cheer w i th coffee a n d a snack! However, tight security surrounded the planes and the a i r s t r ips . Only flying crews, ground crews, a n d official p e r s o n n e l w e r e allowed anywhere near them.

Final ly , we were given permission by the officials in charge to carry out our plan, bu t there were no vehicles available for this purpose. Several days later, after a long search, someone found the cab portion of a discarded British lorry, a k ind of smal l t ruck , to

which we a t tached an old dump c a r t . A h e a v y p iece of c a n v a s made a festive canopy from which we hung tinkling rickshaw bells.

Most of the B-29s on our base had a name and sometimes a picture painted on the side. One was even called "Katie" after me. Two of t h e more famous ones were "Hump-happy Pappy" and "Hump-happy Mammy." The "Hump" is a reference to the high Himalaya Mountains which had to be flown over on all missions. "Pappy" and "Mammy" were the popular funny newspape r cha rac t e r s from the car toon known as Little Abner. Oh, what to name our little club-mobi le? I t d i d n ' t take" long , "Hump-happy Baby!" Our gifted G.I. car toonis t from Hollywood pa in ted an impish-looking baby with a small shock of hair, wearing a pair of diapers held together with a Red Cross pin. Our "Baby" pushed a baby carriage, piled high with doughnuts flying in all direct ions , up t h e s ides of t h e h igh snow-capped H i m a l a y a Mountains.

Af ter s e t t l i n g i n t o life a t Chakul ia , I t hough t somet imes about the luxuries a t home, t h e things I had taken for granted. It was just about this time I received a p a c k a g e . I t con t a ined a new p r o d u c t j u s t deve loped in t h e Sta tes , a Toni Home Permanent Wave s e t . I c o n t a c t e d s e v e r a l G.I.s, former ha i rd re s se r s , who were fascinated by this new "survival kit."

"Sure , Ka t i e , we can follow these directions. It 's easy. We'll put your hair up in these curlers, and come back in an hour to take them down, simple!"

They f inished a n d h a d j u s t taken off when the alert rang out its ominous cry, starting at a high pitch and crescendoing to a shrill, deafening shriek. I made my way, as I had on numerous occasions du r ing the p a s t m o n t h s , to t h e nearest slit-trench.

Af ter a b o u t a n h o u r , t h e i n c r e a s i n g h e a t on my h e a d p r o m p t e d me to t e l l t h e boys a b o u t t h o s e " h o t - r o d s " on my scarf-enshrouded head. "Take a look under this scarf. My hair is all wrapped up, and when those guys take it down, I'll look like a Hol lywood s t a r - a t l e a s t t h a t ' s w h a t t h e d i rec t ions say. These perms are the newest thing back in the States. I'll be the only person on the base, probably in India, with a new perm! Can you imagine how glamorous I'll be?

After some time in the trench I b e g a n to w o r r y . "How m a n y h o u r s h a v e we b e e n he re? I 'm burning up! Those guys told me to go about my bus iness and they would return at the right time to complete the job. I guess they are in another trench and have forgotten all about me."


Sept/Octl995 Peabody News 23

COMPETITIONS FOR "YOUNG MARYLANDERS'" AND "YOUNG NEW YORKERS'"

Tor the Idlest, worthy, young vocal talents in their DEVEL0PMENZ4L

rears. Awarding cash prizes: Cold. Silver and Bronte Medallions to

Laureates for scl.xdarsl.np training programs and presentments in the

Winners "Showcase" Concerts in New York City. Baltimore, Maryland

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ROSA PONSELLE

All Marylanders'" Competition : ftftftftftftftftft::f # f t f t f t f t :;V-/;V'::f;.-:-\:'''-:

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Xft:ft-;;^>ftlft1ftftft'ft^ Application submission deadline (late -Janwiry J/. l'j%

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"Young New Markers'" Competition for residents of the five boroughs of View FferA

(Manhattan, Bronx. Brooklyn. Queens and Richmond)

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The Weill Recital I hill at Carnegie Hall, (New York City)

00j-0m00m':. Application submisskm deadline date -January 31, 1996

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ROSA PONSELLE

Accompanist and Music Teacher of the Year Gold Medallion Awards

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Foundation tor making Mich an event possible. I commend you for helping these young performers and for fostering music appreciation among our children.*'

RI.IMII'H tt: Gn m\i. Mayor

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"...the program you're undertaking for the Rosa Ponselle Foundation is thoroughly in keeping with Ihe artistic achievements of that great artist and I wish you well in the process of carrying this out."

Scm vutt (>. Cmei.% Commissioner.

Department of Cultural Affairs,

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•...this program will open doors to many of our students, who may not otherwise have the opportunity to prepare for and audition for prominent musicians, and receive scholarships to help them pursue their musical dreams. Students will have exciting opportunities to build their musical and academic skills; Increase their self-discipline: ;uul enjoy the feeling of success.

BAMOX (',. OmiiSFX jimner Clhinceltur.

Botird of Education of the City of Sew York

Till- ROSA PONSELLE CtlUUt̂ BlB FOONBAilON, [NC. ALSO t'RRSF.NTS V BENMAL iMT'KVVIIONAL OJMPt'TtTIOS IN NEW Y'ORK ClTV.

For further inquiries and brochures, send requests to: Miss Wayne Duke. President aud Competitions Coordinator. The Rosa Ponselle Charitable Foundation, Inc..

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The "All Clear" sirens began to ring — there was never a happier sound — and I was boosted to t he sur face . Two exci ted ha i r dressers were waiting and shouted "Hur ry up , we ' re two hou r s overdue removing those damned curlers, and the special solution has to be applied."

The hairdressers busied themselves mixing and applying the magic solution; then they began slowly to unroll the curlers. I was shocked by the exp re s s ions on their faces s ta r ing at me— surp r i s e , disbelief , h o r r o r . The sudden silence brought chills to my spine. "What is it?" I wailed.

It was then that I was handed a rod, complete with hairl Slowly I raised my hand to my scalp, and felt only s tubby l i t t le pieces of h a i r . T e a r s t r i c k l e d down my cheeks and I thought to myself, good grief— I'm topless!

Living under wart ime condit ions , so far from home, sometimes drives people to do things they would not ord inar i ly do. I was no exception and one morning I went for the ride of my life.

The sun had not yet risen and in the predawn darkness I could barely make out the rows of airp l anes s i lhoue t t ed a g a i n s t t h e horizon. Even at dawn the air was hot and still, the tall, dry grasses around my hiding place were suffocating. The Air Force fatigues I was wearing clung to my sweating body. My heart pounded. I glanced a t my watch. J u s t five minu tes and the plane will start down the runway. It will slow down at this well-planned location and pick me up. I will be off to fly with my buddies over the mountains into Burma. I had spent several sleepless n i g h t s wor ry ing over t h i s momentous decision to join the crew on a highly secret mission. T h e r e would be s e v e r e consequences if I were caught.

The bright lights of the plane beginning to taxi down the runway alerted me. I quickly climbed out of t he b u s h e s as t h e p l ane slowed down. A small ladder was lowered; Joe, the tail gunner, was out in a flash. He helped me with my footing as Bill, the naviagtor, grabbed my arms and hoisted me aboard. I joined the crew in a loud cheer as we rounded the runway for takeoff. Our p l a n e , a B-25 bomber, quickly soared into the sky. Only the pilot and copilot had seats. The rest of us — crew, photographers, and I — knelt at the windows or sat on the floor.

We reached a l t i tude as daylight broke. F a r in the dis tance below I could see t h e r u g g e d

Andre Kostalanitz paid a visit to Chakulia with wife Lily Pons.

mounta in range and snake-curling rivers of Burma. As a reconn a i s s a n c e miss ion , we were to t a k e p i c t u r e s of Rangoon , t h e p r i n c i p a l po r t of B u r m a , t h a n occupied by the Japanese. I t was to be the next target of a bombing mission. We circled the port several t imes as the photo crew comp l e t e d t h e i r s h o t s . T h e n we banked and turned in the direct i on of our b a s e . L a t e r I w a s haunted by the memory of knowing t h a t th is beautiful, t ranqui l countryside would be devasted the next day by hundreds of bombs, and unknown numbers of innocent victims would die.

One day an emergency meeting was called for Red Cross personnel. Lieutenent Brennan's face was disturbed as he reported that t h e p h y s i c a l cond i t ion of t h e M a h a t m a G a n d h i h a d t a k e n a t u r n for the worse. The political and spiritual leader of India had been on a hunger strike for many weeks. This time his protest was not directed against the British, a s i t h a d b e e n s e v e r a l t i m e s before! but rather to his own people. Despite his appeals for nonviolence, the Hindus and the Muslims continued to fight each other.

There was a sense of urgency in Lieutenant Brennan's voice. "If G a n d h i should die, the lives of Americans and British could be in grave danger. It has been decided tha t you must wear a halter carrying a .45-caliber revolver at all t i m e s u n t i l t h i s e m e r g e n c y is over."

The L i e u t e n a n t c o n t i n u e d , " R e p o r t for t a r g e t p r a c t i c e a t once." Three cans were placed on a mound some distance away. A tough sergeant addressed us, 'Tou have five shells to hit three cans.

The improvised Red Cross Clubmobile visited the crews of the B-29 bombers during their hours-long waiting to go into action.

The B-29 Superfortress named after Katie.

This procedure will be repeated until you have succeeded. Now go for it!" I had never held a pistol, even a w a t e r one. I t w a s mid-afternoon when the training started, and well after evening chow before I passed the t e s t . Three days later, Gandhi was persuaded to end his fast. What a relief to hand over th i s heavy, awkward pistol! A .45 is a s t range bedfellow.

Not m a n y ce lebr i t ies found their way to our isolated Air Force base. On one occasion, however, we had the good fortune to have famed o r c h e s t r a l e a d e r A n d r e Kostalanitz, the first conductor to introduce classical music over the radio, and his wife a t the t ime, Lily Pons, renowned coloratura of the Metropolitan Opera Company.

Having been a musician, I was able to gather together a group of topnotch s ingers , selected from the ground and flying crews of the B-29s. Some were veterans of the concert stage and Broadway productions, while others were amat e u r s who enjoyed s inging . We performed at regularly scheduled shows g iven in o u r o u t d o o r amphitheater as well as at all religious ceremonies. Since there was little to do between the bombing mi s s ions , t h e m e m b e r s of t h i s


Metropolitan Opera star Lily Pons shared Katie's primitive hut for a couple of nights when she came to entertain the troops, one of the very few topline entertainers to visit this remote jungle base.

The three Red Cross comrades (left to right) Sandy, Katie, and Pat with British Indian Army officers and Mohammedan friends in the Shalimar Gardens, Srinagar, Kashmir, in the autumn of 1944. Their two-week stay there was a short and tranquil idyll in the midst of war.

group found respite and relaxation in rehearsals. We worked up quite a repertoire, as well as a reputa t ion on the base. Mr. Kostalanitz, hearing about our chorus, asked permission for them to sing several numbers in his show scheduled for that evening.

Unfortunately, a great catastrophe occurred in the afternoon. A plane, heavily loaded with bombs, exploded, sett ing off a series of explosions in other planes on the airstrip. Casualties mounted close to a hundred, and

volunteers were called into service to administer first aid and assist the nurses. I was instructed on how to inject needles and perform a variety of emergency measures which under normal circumstances would have caused me to faint. I had never had a course in first aid and was rather squeamish about such things. Under these circumstances I had no time to think of myself and managed to give all the help of which I was capable.

Because of this tragic event,

the musical performance had to be delayed, and Lily Pons had no choice but to be my roommate for two nights. I have a vivid memory of this great lady sitting on my rope bed, putting her hair up in my bobby pins. She was so petite and almost shy. She looked more like a young school girl than a great diva. I told her about the number of times in New York I had paid a "standing room only" fee to hear her sing.

Hours before the performance, Mr. Kostalanitz came to tell me Lily was suffering from a dry throat. This, of course, was not unusual in a climate with tempera tures hovering around 100 degrees and up, with no means of cooling off. He said only pineapple juice would relieve this condition, and she had run out of the supply she had brought with her. I knew there was no such luxury on our kitchen shelves, full of Spam and C and K rations. Quickly, I contacted our CO. Communications s ta r ted and finally a can of pineapple juice was located in Calcutta, about 200 miles from our base. Word traveled fast, and finally a plane took off, returning a short time before the performance with this precious commodity. That had to be the most expensive can of pineapple juice in history, but it proved to be well worth it. Never had our spirits needed more to be lifted.

In her clear, bell-like soprano voice, out in the open air, this great singer's notes soared to the heavens. She sang ar ias from light opera and popular songs from current shows. The men whistled and shouted, "More, more, Lily!" She later remarked that never in her career had she sung before a more inspiring audience.

My chorus of singers gave such an exciting performance under the baton of Kostalanitz that he begged to have them perform at other bases. This, of course, was impossible. They had to stay put and get the war over with. But possibly that goal was made a little easier after this morale boosting concert.

Ever since I read the Arabian Nights, I had dreamed of being transported one day on a magic carpet, floating through space to a world of e ternal beauty and enchantment. Maybe the closest I came to that experience was when I lived for two weeks on a houseboat in Kashmir, situated in the magnificent snowcapped Himalaya Mountains. After eighteen months at our base in the jungles of India, another war-weary Red Cross worker, my friend Pat, and I managed to take some leave and get there.


MORGAN STATE UNIVERSITY

PERFORMING ARTS SERIES

presents

THE MOSES HOGAN

CHORALE from New Orleans,

Louisiana

Biggest Recent Attraction At The American Choral Directors

National Convention in Washington, D.C.

The Nations Best Choral Group Specializing in the

Negro Spiritual

Friday, September 15, 1995 8:00 pm

Murphy Auditorium Morgan State University

(410) 319-3286

Admission $10.00 Students $5.00

Annapolis Symphony

Orchestra 1 9 9 5 - 1 9 9 6 SEASON

GISELE BEN-DOR. Mt SIC DIRECTOR

October 2 0 - 2 1 , 1995 DAVID OTT • RAVEI. • IVES

Leon Kleishrr. solnisl

November 17-18, 1995 Kl KKrN GONZALES

MOl'SSOK<;SKY/KAVKI. • BEETHOVEN Klllieil Gonzales, snlnisl

February 2 -3 , 1 9 9 6 IIOLST • SHOSTAKOVICH

TCHAIKOVSKY T/.imon Barlo. |ii;lllo

March 1-2, 1996 KOBKRT MACHT • SHOSTAKOVICH

BACH • SA1INT-SAEINS Donald SpinrllL IV<I Join s. K r r r i Lc*Jetmf.

Ili-ynn All>am*sf. Philip Splelzer. Suzaiiiit' Orhaii. soloisls

April 19-20, 1996 OPENING WORK TBA • BEETHOVEN

The Annapolis Chorale J . Ernest Green. Music Diieclor

Dehra Lawrence. Belly-Jean Rieders Paul Ylrllvaiiie. Jonathan Deulseh, soloisls

M a n land Hal l for the Creative Arts

Annapolis • 410-263-0907

26 Peabody News Bept/Oct 1995


We went by train, a four-day trip during which we prepared and ate our meals, which involved opening several cans of C rations, the Armed Services' survival kit. Pat , in her customary good humor, would say, "Let's start off tonight with a little caviar," and with a flair open our daily ration of Spam. She made quite a ceremony in the preparation of our beverage, powdered milk and heavily chlorinated water with a few special safety pills thrown in. You might have thought it was an exotic tropical drink.

We were not allowed to buy or eat Indian food because of the ever-present epidemics of diseases. At station stops vendors sold food and tea through the open windows of the compartments. We could buy tea, but it Tiad to be two cups. We had been instructed to buy one, swish it around to sterilize the cup, toss it out and pay for another to be poured into the same cup. We had been taught all sorts of safety measures by specially trained Air Force personnel. Bananas, the only fruit allowed, had to be peeled with cotton gloves.

On the fourth morning, the train pulled into the end of the line. We had reached Rawalpindi, the last town this side of the Himalayas. This was another world. It was cold\ Through the early veil of light, we could distinguish men wrapped in heavy long robes, and women whose faces as well as their bodies were covered. Here there were sheep instead of the sickly, forlorn sacred cows of the south. The chill in the air and the t ranqui l i ty of the scene reminded me of Biblical pictures I had seen in my childhood at Sunday School. Could this be part of the India we had so recently left— tempera tures sometimes 120 degrees, the monsoons, the famine, the poverty, disease, and the hopelessness of so many of its people?

When we arrived we found, another ARC volunteer, who had been a shipmate of mine for the twenty-eight day crossing. She had been waiting here for us for two days. I had written Sandy in Bombay, her base for the past year and a half, about our plans, giving an approximate date of our arrival here. Mail was a gamble in India; a letter might never leave its dest inat ion or ever arrive where it was supposed to, and the time it took was anybody's guess. We had a joyous reunion. One day to make final arrangements and we were on our way.

The only transportation available was an open touring car with makeshift isinglass windows. It looked like a 1920 vintage, a car that already had made too many trips over the mountains. After a grueling all day journey, we

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"Sandy"— now Mrs. Patrick Vincent, found romance in Kashmir.After the war, she married the British officer she met there.They are shown here in the Shali-mar Gardens. The Vincents now live in Durham, North Carolina.

rounded a curve, and there suddenly below us was a small city with twinkling lights, surrounded by a lake shimmering with reflections of the moon. The snow-covered mountains stood by in silence. All was peace and quiet. We were caught up in the magic spell. This is Kashmir, truly the land of enchantment and romance.

For security reasons we had been given permission to stay only at one particular hotel, operated by the British. The proprietor met us with bad news—not a vacant bed in the house. Aware of our predicament, he suggested we relax at the bar while he made arrangements to put up three cots in a hallway, just for one night. The only three seats left happened to be next to three a t t ract ive British officers. The magic spell of Kashmir was already at work! We told them of our plight and one of them replied, "The Air Force never forbade you to stay on a houseboat, did they?" How clever are these British! "By chance a very beautiful one was vacated today," he said. We lost no time in moving in.

The family who owned it were included in the price. The father cooked, the mother cleaned, and the three sons were house bearers, similar to porters. Together they had constructed the houseboat, made of sweet-smelling sandalwood, and had made all the furniture as well. There was still more to come. Down a few steps outside was moored our private shikara, a small gondola- type boat fitted with exquisite Kashmir pillows and rugs. Two oarsmen awaited our wishes. This was the only means of transportation to the mainland.

We fell into bed tha t first night wondering when the bubble would burst. In the early morning we were awakened by one of the sons bringing us chodahazie, morning tea. "Memsahibs, it snowed during the night and the air is crisp. Would you enjoy breakfast by the fire?" Oh, heaven

must be like this! It was Sandy who said, "Pinch me, I don't believe this is real."

One evening the family's eldest son Karim asked us to sign their guest book. Glancing through I was startled by the signature of a guest long ago. It read, "Neville Chamberlain, Lieutenant, British Army," the man who later became Prime Minister of Great Britain.

On another occasion Karim suggested a trip to the Shalimar Gardens. Our Bri t ish friends joined us for one of the most memorable days of my life. Each couple rode in a shikara piled high with Kashmiri pillows and rugs. Our caravan glided for several hours through canals and small lakes inhabited by swans and ducks and other exotic waterfowl. Finally, we arrived at the exquisitely beautiful gardens. Brilliantly colored flowers of every var iety grew among the lush green shrubs and trees. History records a Maharajah planned the gardens as the spot for reconciliation with a favorite of his harem with whom he had quarrelled. Karim had brought along tea and sandwiches, and spread out Persian rugs on which we sat. Early on we had decided not to mention the war, but it was not easy to forget that in a few days we would be headed back to our responsibilities.

Farewells were difficult. Our newly-found friendship with the British neighbors had blossomed, and, for Sandy, even romance found its beginnings. It ripened with time, survived the war, and eventually culminated in marriage.

Karim and his simple, loving Mohammaden family stood on the steps as we waved goodbye. We took one last look at the sight which would remain forever indelible in our minds, the towering, snow-covered Himalayas standing majestic and serene.

One day in early MayfaSpersis-tent rumor became a reality. The Twentieth Bomb Command was ordered to leave Chakulia, India, far the is lands in the Pacific, Guam and Tinian. No one seemed to know exactly why, and certainly no one here anticipated that the war would end in several months. Headquar te rs in Washington refused to allow Red Cross workers to go to the islands. I was sent to Darjeeling, the beautiful hill town situated on a 7,000-foot high mountain at the base of the Himalayas.

Our responsibility there was to entertain troops from General Stillwell's Burma Road outfit. Most of the G.I.s sent to us had been at war a long time in rugged territory. During their seven-day leave, we tried to make them forget the miseries of their Army existence. I would sing all the popular songs of the day from "Smoke gets in your Eyes" to "Begin the Beguine."

British tea planters opened their plantations to us for picnics and baseball games. In the Red Cross Club we planned activities—games, contests, shows, etc. However, the most popular event was the performance of a young half dog-half jackal we had found. She had learned very quickly to perform numerous tr icks in response to commands given in Hindustani. A local veterinarian told us the "jackal" in her was responsible for her unusua l strength and sense of balance. A loving and affectionate animal, she was quite different from the poor half-starved dogs we had encountered in central India. The boys soldered a Red Cross pin to her collar for identification in the event she became lost, and named her "Cheenie"—sugar in Hindustani.

My work in Darjeeling was of short duration, three months. World War II ended. I received my orders for the return to the States.

As our liberty ship pulled out of the port of Calcutta, I experienced a deep feeling of pity for this poor, overpopulated country, most of whose people seemed unaware there had been a war in progress. We rounded the continent of India and entered the Red Sea.

One par t icular night was especially dark, and the s tars gave off the brilliant luminescence possible only in the atmosphere close to the equator. Lying on the deck of the ship, I unconsciously raised my hand as though I could touch them. I lay awake this night, as I had on other nights since leaving India, finding myself silently thanking God for the end of World War II.

The days were long and the heat overwhelming while we


Katie with "Cheenie," the little dog who helped to entertain the troops from General Stillwell's Burma Road outfit on their periods of leave in Darjeeling. Cheenie bore a charmed life and Katie's reunion with him after the war is one of the moving stories in her narrative.

crossed the Indian Ocean and the Red Sea. I looked forward each day to sunset when I climbed the steps to the high open gun turret the captain had assigned to the eleven women on board. Even though the war was officially over, our Captain declared the ship must be completely darkened during the night. Our guard, well equipped with a .45 and ammunition, counted heads and took his post at the bottom of the steps.

Lying awake, lulled by the gentle rolling of the ship and the monotonous whirr ing of the radar high above our heads, I spent a lot of time thinking about a soldier on the ship called Larry. He was one of a number of G.I.s kept in solitary confinement in the bowels of the ship. They were referred to as "mental patients," a war experience having triggered an imbalance in their thinking processes.

By accident, I had heard about these unfortunate soldiers. I learned there were no facilities on the ship for treatment. They were simply being guarded in cells until we reached New York, where they would be hospitalized. I was overwhelmed to think of the loneliness they would experience during this long journey, and asked permission to visit these boys. My first encounter was with Larry.

An armed guard led me to his cell and locked the door behind me. The room was small and bare, the air stale and stifling. The overcrowded decks above, the unrelenting sun and soaring temperatures seemed paradise by comparison. Larry's frail body was clad only in paja-ma bottoms, and he sat on the floor in the corner. His head was framed by knotted blonde curls, and large, hollow brown eyes gazed at me impassively.

"Hi, Larry, I'm Katie," I said weakly, trying to conceal my

nervousness. There was silence. And then, "sit down," he gestured to the floor. More silence. Everything I had planned to say suddenly seemed wrong, inappropriate. I felt only pity for him, the injustice of his surroundings, returning from war in such an inglorious fashion.

Suddenly, his eyes narrowed, he crossed his arms, and I saw his hands dig into his flesh. "And can you tell me why you're taking up the space of a soldier on this ship? Did you fight in the war?"

"Well, no, not exactly. I didn't fight in this war, and I didn't ask to be returned on this ship." I fumbled for words. "You know how the Army works. You take orders and don't ask why." I was glad to have thought of this hackneyed expression. He half rose from the floor and said, "Now I'm giving the orders. OUT!"

I stumbled to my feet, and banged on the door, which opened quickly. It was all so futile. I burst into tears. As I left, I turned around and said, "Do you want me to come again?" There was a long silence and then I heard a whispered, "Yes."

We became fast friends as the weeks went by, and my daily encounters with Larry gave me better insight into ways of helping other patients. Every day Larry inquired about our daily two-hour show. "Do you mean you perform for a different audience every day? Are there really that many G.I.s up there? I'm glad I'm down here," he lied. One day he asked me what I did in the show, and when I told him I sang, he said, "Prove it!" That was the beginning of my extra show every day.

I was able to have a farewell visit with Larry shortly before we landed. I told him we were the first ship from the China-Burma-India thea t re to land in New

York, and were being escorted by hundreds of gaily decorated, horn-blowing boats, as well as official Army and Navy vessels.

"Oh, Larry, the church bells are ringing all over New York," I said. "The Sta tue of Liberty stands tall and more glorious than before. Her r ight arm reaches to the heavens, and the light of her torch is surely the symbol of new hope and peace for this world. At long last, Larry, we're home." Sobbing, he collapsed on my shoulder and we wept together.

It was jus t three months since World War II had ended, when our troopship, 23 days at sea, approached New York Harbor. Needless to say, we had slept little the night before. The decks were crowded with American soldiers, a few nurses, and Red Cross volunteers, all eager for the familiar sights of the good old U.S.A.

Standing on deck, as the ship prepared to dock, strange, haunting thoughts entered my mind. I began to wonder if my homeland, my family and friends had changed. Witnessing the history of this war had been almost a daily occurrence. At first I thought almost constantly about home and my loved ones. Then gradually that all faded into the past. Letters from home took so long to arrive, and I found it

increasingly difficult to write. With strict censorship there was so little to tell. How could anyone have guessed I was halfway around the world at a secret B-29 base in India? After a period of time, I unconsciously developed a philosophy of living for each day with no thought of the future. That hurt too much. There had existed an indescribable closeness shared with my fellow workers as well as the soldiers on our base. It was an association akin to a family relat ionship. The farewell parting had not been easy.

A group of Armed Forces and National Red Cross officials were waiting at the dock, and we, the Red Cross Group, were taken to a hotel where a whole floor had been reserved. We were told it would be necessary to remain in New York several days for the purpose of interrogations, reorientation, physical examinations, and so on. Since only New York knew of this momentous arrival, we were given permission to make a brief call home. My heart pounded as I gave the operator the number of my home in Baltimore. I was surprised I remembered it after this eternity.

My sister answered, "Hello?" At the sound of her voice a

lump in my throat delayed my answer.


STRATHMORE HALL ARTS CENTER

Music in the Mansion 21 concerts in the intimate Music Room

1995 - 96 Season Highlights

Rumillajta September 22

The Maia Quartet October 22

Leander Bien & Ignat Solzhenitsyn

October 25-26

Jay Ungar & Molly Mason November 16

Columbia Pro Cantare Chamber Singers

December 10*

Melvyn Tan February 2

Meridian Arts Ensemble March 15

Baltimore Consort March 17**

All concerts at 8:00 p.m. except as noted. *7:00 p.m.; **3:00 p.m. & 7:00 p.m.

Strathmore Hall is conveniently located at 10701 Rockville Pike, North Bethesda, 1/2 mile north of the Capital Beltway at Exit 34. Metro: Grosvenor Station (Red Line). To request a season brochure, call (301) 530-0540.



She was impatient. "Hello... hello?"

"I'm home, I mean New York." That wasn't what I had planned to say.

I tried to be casual for fear of breaking down. "I've been in India...just back...be released in several days...love to everybody... I'll call again...goodbye," and I hung up. It was more than I could handle at that moment. After indulging in amenities long forgotten — running water, a hot shower, flushing toilet, and best of all, a mattress on a real bed—I slept for twelve hours.

I was among the first to be called for a physical examination. "Let's see," a pompous but well-meaning doctor said, reading my report. "It seems you've lost a considerable amount of weight in these two years. You experienced several rather severe tropical illnesses, and you had some sort of accident from—it says "home permanent wave set?" He snatched a quick glance above his glasses and noticed the burned, stubby ends of hair t ha t covered my head. "Have you notified your family about these occurrences?"

"No, but they love me. They'll be glad to see me any way I am."

"Perhaps it would be advisable to call and prepare them—

just indicate you're not quite the same person they said goodbye to several years ago."

I didn't agree with him, but I called anyway and stammered through the routine he suggested. The response was loving and understanding. I later learned the welcoming party of family and friends they had planned was then cancelled. No more than several senior members of the family would meet my returning train. They weren't quite sure what to expect.

The following morning I was awakened by an excited, jolly-faced official who told me she had contacted the Elizabeth Arden Salon and told them about the unfortunate accident that happened to my hair. They had offered, as a contribution to the war effort, to call in experts to study the problem and determine the "proper action necessary to rectify this s i tuat ion." She clapped her hands in gleeful expectation. "Get dressed and get over there fast. They're waiting for you."

I was given the red-carpet treatment. I suppose I embodied every a t t endan t ' s husband, brother, or lover who fought overseas. In addition to solving the hair problem, I was treated to a facial, massage, manicure, and a lunch so rich and different from the meager rations to which I

S~^\ r r I, I, \ A S IV Y A 1 r j-—-»

GORDON CENTER FOR PERFORMING ARTS

"An American Portrait" September 30 8:15 p.m. — October 1 7:30 p.m.

Indulge your senses in dramatic fusion. James Westwater has merged music and photography into "Photochoreography." Witness a creative, dazzling blend of orchestra, chorus and photo projection on three huge screens—a premiere performance, Edward Polochick conducts Concert Artists of Baltimore in this collaborative celebration of America. $17

"A Wind Storm" October 21 8:15 p.m.

One Performance Only The Budapest Wind Ensemble playing Scott Joplin as well as Mozart, Salieri, Weber and polkas by Johann Strauss. Direct from Hungary and the Budapest Opera House. $12

"Crossbow Arrows - Iron Bars - Gongs!!!" November 11 8:15 p.m. —November 12 3:00 p.m.

Safari Duo, two young world-famous percussionists, engage in a game of romps—hammering and rattling in sumptuous orgy of rhythm and music. Uffe Savery and Morten Friis play a battery of 100 instruments, from the vibraphone to thunder sheet. Melodious classical and jazz rhythms from Bach, Ravel, and Chopin, to Ellington and Steve Reich, using a metric ton of equipment! $12

3506 Gwynnbrook Avenue, Owings Mills, M D Show Information, (410) 356-SHOW - Tickets (410) 481-SEAT

had become accustomed that I promptly got sick. I walked out a very different person, head of curly blonde r ingle ts , face renewed with the latest makeup, eyelashes extended, and a general look of well-being. I was issued a new uniform, white gloves, and a train ticket to Baltimore.

When the train pulled in, I saw the three anxious faces of my two brothers and sister. I couldn't resist, I fluttered my eyelashes, put out a white-gloved hand, and said, "What are you so worried about?"

I had been home barely a month when it happened. "A call from New York? For me, what was it about?" "It came in last night while you were out...something about a dog with a letter attached to its collar, and it had your name and phone number on it. Doesn't make much sense, does it?" my nephew replied casually.

The word "dog" caused me to leap to my feet and race to the phone. I quickly put through the call, and shouted with delight, "It's Cheenie, She's here! Oh, thank you, God." I lost no time in putting on my uniform not forgetting to add the service stripes.

As my train bounced back and forth on the rails to New York, I recalled the tearful farewell with my beloved dog. I never dreamed the complicated plans to smuggle her out of Darjeeling would ever materialize. A British officer had promised to care for her, and see that she arrived in Calcutta by a certain date in September; then a friend had offered to take care of the necessary inoculations; and finally a young soldier had volunteered to deliver her by midnight to a specific spot on the Hoogly River outside of Calcutta. Sounds like a dream, doesn't it? At this location she was to be picked up by a sailor, and brought by a small boat to a Navy destroyer, whose commanding officer, a close friend, had promised if she made it that far, he would bring her to the States. Once the ship had docked, it would be simple to pretend she was the mascot, and take her ashore for a walk.

To think she had been a lost, three-week-old puppy when she was picked up by the military police patrol l ing the lower Himalayan mountains. It had been such a challenge to keep her alive. She was so small she nestled in the palm of my hand, and to feed her our hospital had given us a small bottle with a tiny opening.

"New York—all out for New York," the conductor called. It wasn't long before I was at the designated pet shop, and having

a tearful reunion with a miserably thin, mangy but happy dog. A note at tached to her collar related the story of a long and stormy voyage of about two months. We hurried back to the stat ion, down the steps, and faced a conductor standing by the t ra in . "Can't take that on a coach—only in the baggage car."

"But, Sir, th is dog jus t returned from overseas. She did her share to win the war. She lived in a Red Cross Club, enterta in ing troops with ten-day leaves from General Stillwell's Burma Road outfit. Those war-weary boys hadn't seen a dog since the beginning of the war, and she did more to raise their morale than anything we could do." I made sure he saw my service s t r ipes . "Oh, Sir, you wouldn't...."

"Take her on, and by the way, make sure she gets a seat."

The train pulled into Baltimore, and we two travelers, tired and sleepy, found a taxi whose driver hesitated to allow the dog in his cab, then consented only if it remained on the floor. I told the driver my story. He was so fascinated he proposed a free ride if I would put the dog through her tricks in front of his headlights. "I can't wait to tell my kids," he said.

It was past midnight when I arrived home, but the show went on, that is until a neighbor raised his window and shouted, "What in the hell is going on at this time of night? I'm going to call the police!"

I thought to myself, I'll tell him the story, tomorrow, or the next day—or the next.

We're going to be home for a long time.

:V ; :;;:; fftftftft :ft|ftW''ft?S""'':%fts/ftft ftftft' ;,;;.?!!: •• ftftftftft

t. i


BALTIMORE DATELINE.

Baltimore Center for the Performing Arts

The lights of Broadway shine brightly at the Morris Mechanic Theatre this seaon with a pre-Broadway engagement of the new musical Buskers, starring Tommy Tune as a London street performer in the years before the Second Worl War from Sept. 13-24; the Royal National Theatre's revival of J.B. Priestley's 1946 thriller An Inspector Calls, Oct. 17-29; the Tony Award-winning musical Kiss of the Spiderwoman, starring Chita Rivera, Nov. 7-19; the Pulitzer prize-winning Three Tall Women by Edward Albee, March 5-17; another pre-Broad-way engagement of a pop-opera Jekyll and Hyde, based on Robert Louis Stevenson's classic tale, March 26-April 7; and the Broadway musical satire about corporate America about the year 1960, How to Succeed in Business Without Really Trying, June 11-23. Call 410/625-4200.

^

Baltimore Choral Arts Society

Celebrating its 30th season with a gala concert at the Meyerhoff Symphony Hall on Nov. 18 at 8 p.m., the Baltimore Choral Arts Society promises to raise the roof. After all, the program includes a staged version of Carl OrfFs Carmina Burana. Bringing that stirring piece to life, music director Tom Hall conducts the combined choruses of the Baltimore Choral Arts Society, Morgan State University, Goucher College and the Children's Chorus of Maryland, with soloists Janice Chandler, David Britton and Lawrence Craig and pianists Eric Conway and Maurice Murphy. Not to mention that this version features choreography by dancer Kimberly Mackin.

This program also includes three "American Alleluias" by composers Alan Hovhaness, Kirke Mechum and Randall Thompson. And the BCAS will be joined by the Morgan State University Choir for Nathaniel Hail-stork's Spiritual Suite, conducted by Dr. Nathan Carter.

Upcoming at the BCAS are the seventh annual Christmas for Kids program on Dec. 9 in Goucher College's Kraushaar Auditorium; the 12th annual Christmas concert on Dec. 10 at Kraushaar; Honegger's oratorio King David on March 24 at Kraushaar; and performances of "Te Deums" by Francesco Urio and Handel concluding the season on May 5. Call 410/523-7070.

Scott Tennant

Baltimore Classical Guitar Society

This is the concert series that presents the best there is in the guitar world at the Walters Art Gallery at 8 p.m. on Saturday nights. The performers are as follows: Scott Tennant, the first American ever to be awarded first prize in the Tokyo International Guitar Competition in 1989, silver medal winner at both the Concours International de Guitare of Radio France and the Toronto Competition , and author of a book on advanced guitar techniques titled Pumping Nylon (Sept. 16); Norbert Kraft, first North American to win top prize at the 1985 Segovia International Competition in Spain and best selling recording artist on the Chandos label, (Nov. 11); 21-year-old newcomer to the guitar scene, Jason Vieaux, who, at age 19, was the youngest guitarist ever to win the 1992 Guitar Foundation of America International Competition, (Feb. 17); Paco de Malaga & the Ana Martinez Dance Company, an authentic flamenco dance troupe that is back by popular demand —warning:previous performances have sold out— (March 16); Nicola Hall, top prize winner in the Polish International Competition and at the Toronto Competition, (April 13). Tickets range from $15 downwards. Call 410/247-5320.


cm *m>

Washington Bach Consort Washington s premier baroque chorus and orchestra

J. Reilly Lewis, Music Director

l 995-96 Concert Series - l 9th Season

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Performed with period instruments and the unparalleled style of the WBC Chorus.

St. Mttt&lM/ P/*4lot-Hear Bach's greatest work

with the people who do Bach best.

An all-Bach extravaganza featuring Bach's best choral, instrumental, and organ music.

Subscribe now and save 10%! Mention Peabody News and save an extra 5%!

(valid for first-time subscribers only)

(202) 337-1202 Concerts held at Metropolitan United Methodist Church and St. Paul's Lutheran Church in northwest DC.

Soloists, programming, dales, and locations are subject to change.

JHtttK 8c Spirit JsHjoppe 6242 Bellona Avenue (At Gittings Avenue) • Baltimore, MD 21212

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435-5200

Call or stop in to inquire about our monthly wine, beer, and spirit specials for Peabody News readers.


the Institute f°r

Language, | and Publications Design

Technology

announcing for fall 1995

1 Lectures and Symposia for writers and graphic designers

1 Hands-on Workshops in the Graphics and Media Labs

1 Poetry Readings

Institute for Language, Technology and Publications Design Yale Gordon College of Liberal Arts, University of Baltimore 1420 North Charles Street Baltimore, M D 21201

1 For more information:

410-837-6022

410-837-6029 FAX

54TH SEASON IN

'WASHINGTON NATIONAL CATHEDRAL

/ . Reilly Lems,.Music Director

Sunday, Nov. 12, 1995 at 4 pm Robert Shaw, Guest Conductor

BRAHMS: ALTO RHAPSODY & NANIE HINDEMITH: WHEN LILACS LAST

IN THE DOOR-YARD BLOOM'D

Saturday, Dec. 9, 1995 at 4 pm Sunday, Dec. 10, 1995 at 4 pm

THE JOY OF CHRISTMAS

Sunday, March 3, 1996 at 3 pm Kennedy Center Concert Hall

Washington Performing Arts Society presents Cathedral Choral Society

& Washington Bach Consort WALTON: BELSHAZZAR'S FEAST

Sunday, May 19, 1996 at 4 pm BERLIOZ: REQUIEM

SEASON T I C K E T S

(Includes 10% discount; order by Sept. 15) Front Nave $123 .30 ; Mid-Nave $88.20

Balconies $109.80

Sunday, April 20 , 1996 at 7 p m Benefit Concert by

B A C H C H O I R O F L O N D O N Sir David Willcocks, Musical Director

Front Nave $40; Mid-Nave $24 Balconies & Transepts $31

General Admission $16 Call for Group Rates

Mail check & self-addressed, stamped envelope to:

Cathedral Choral Society Washington National Cathedral

Wisconsin & Massachusetts Aves. N W Washington, D C 20016-5098 For information call (202) S37-8980.

BALTIMORE DATELINE. . . . . .

Baltimore Consort

They have become so popular across the country that the premier Early Music group tha t bears the city's name and is composed of many Peabody faculty members and alums, is, alas, seldom to be found performing at home these days. They do start out at Strathmore Hall in Washington D.C. on Oct. 2, but after that they move steadily westward for the rest of the month through Alabama, Mississippi, and then up to Canada, Washington State, and Oregon, with a final stop on Dec. 17 at the Metropolitan Museum in New York. The winter months wisely find them further south in Florida, Georgia and Alabama. Then they move north in March to Michigan and other chilly spots before a re turn to Strathmore Hall on March 17. April finds them in Kentucky (in time for the spring racing season?) with a gentle trajectory through the Carolinas and other southern states.You will have to wait until April 20, 21 to find these wandering minstrels with their lutes and viols back within driving distance at St. John's College in Annapolis.

• • • •

Baltimore Opera Company

The Baltimore Opera Company has every reason to sing its own praises. Its upcoming 45th anniversary season finds it expanding to four full-scale operas in the Lyric Opera House.

Verdi's La Traviata kicks off the season on Oct. 14, 18, 20, 21 and 22. It will be followed by Lehar's The Merry Widow on Nov. 11, 15, 17, 18 and 19; Bizet's The Pearl Fishers on March 9, 13, 15, 16 and 17; and Puccini's Tosca on April 20, 24 26, 27 and 28.

And we must add tha t the sophistication of the BOC productions is matched by the cleverness of its recent promotional campaigns. The company wants everybody to know that the operatic combination of beautiful singing and compelling stories has mass appeal. In that spirit, this year's BOC marketing literature includes an "opera wheel" that you can spin around to reveal all sorts of saucy information about the characters and plots in this season's offerings. Yes, indeed, this wheel of misfortune boasts about human sacrifice, a broken engagement, idol worship, an escaped convict, arson, dueling, skimpy costumes, a menage a trois, blackmail, wine, women and song. What TV soap opera could hope to match that? Call 410/727-6000.

Cristina Gallardo-Domas sings the title role in the Baltimore Opera's La Traviata.

Baltimore Symphony Orchestra

Time flies when the conductor is having fun, so it's a little daunting to consider that Baltimore Symphony Orchestra music director David Zinman has been on the Meyerhoff Symphony Hall podium for ten years now; Zinman heads into his 11th year with an exciting 1995-1996 season. And jus t as many Peabody faculty members are within its orchestral ranks, the BSO season highlights include some Peabody-affiliated soloists.

Among the Peabody names to circle on your BSO schedules is that of pianist Leon Fleisher, a longtime faculty member, who should make national headlines when he and pianis t Gary Graffman join forces to perform the world premiere of William Bolcom's Concerto for Two Pianos Left Hand. Actually, Fleisher plays one Bolcom piano concerto on April 11 and Graffman plays a separate piano concerto on April 12. Then they play these individual concertos together on April 13 in an aptly titled Uncommon Concert. Zinman should have a ball with that program.

Also of special note for the Peabody community, cellist Carter Brey, a Peabody alum, performs Haydn's Cello Concerto in C Major, under guest conductor Gunther Herbig, on March 28 and 29.

Students from the Peabody Symphony Orchestra and Chorus join with tenor John Aler, the BSO Chorus, University of Maryland Chorus, and of course the BSO under Zinman for Berlioz's Requiem on April 25 and 26.

Also, the 15-year-old violinist Hilary Hahn joins with Zinman for an all-Bernstein program on Jan. 19, 20 and 21. Hahn formerly studied violin at the Peabody Prep with Klara Berkovich. Her fast-rising career already has seen her play with the New York Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, and Pittsburgh Symphony, as well as European appearances.

And a Chris tmas seasonal favorite to mark on your calendar finds the BSO and its Chorus under conductor Edward Polochick doing Handel's Messiah on Dec. 22 and 23.

The many other upcoming programs at the Meyerhoff to consider include the Philadelphia Orchestra under Wolfgang Sawal-lisch on Oct. 11; conductor Robert Shaw leading the BSO and its Chorus in Mozart's Mass in C Minor on Oct. 19, 20 and 21 ; pianist Ignat Solzhenitsyn, son of the Russian novelist, joining the BSO for Beethoven's Piano Concerto No. 2 on Nov. 9, 10 and 11; the highly acclaimed Russian pianist Evgeny Kissin giving a piano recital on Jan. 7; and on the Pops side, t ha t consummate entertainer, Harry Belafonte, in town for BSO concerts on March 21, 22, 23 and 24. Call 410/783-8000

Cathedral Concert Series

Under the direction of Peabody alum Robert Twynham, the Cathedral of Mary Our Queen on North Charles Street hosts a very notable concert series that expands its offerings each year.

The Cathedral Concert Series brings the Pendyrus Male Choir from Wales to town on Sept. 7, at 7:30 p.m. Anyone who has ever attended a Welsh rugby match knows that all Welshmen can sing magnificently whether in church or on the soccer field.

The great highlight of the fall is, of course, the visit by Pope John Paul 11 on September 21, culminating in a concert in the Basilica. This event will bring major choral forces of the city together, including the Cathedral of Mary our Queen Choir, the Choir of Old St. Paul's, the Baltimore Symphony Chorus and Balt imore Symphony Orchestra , sponsored by the Peggy and Yale Gordon Trust. Other fall dates are: An Ecumenical Choral Concert, Oct. 15; Leslie Marrs, flutist, and Eric Seidl, guitar, Oct. 22; Virginijus Barkauskas, organist, Oct. 29; Mart in David Jones , pianist, Nov. 5; Joseph Stephens, pianist, Nov. 12; Fred Jacobowitz, clarinet, Nov. 19; and The Towson Sta te University Early Music Ensemble presenting The Play of Daniel, Nov. 26. Call 410/433-8803.


BALTIMORE DATELINE.

Center Stage

All the world is a stage for Baltimore's Center Stage, whose upcoming season offers plays from many different cultures and time periods. The season starts with Moliere's Don Juan doing a satirical number on sexual relations from Oct. 6- Nov. 5. It is followed by a double bill of two one-act plays: Douglas Turner Ward's Day of Absence and Shirley Lauro's Open Admissions, running Nov. 10- Dec. 23.

A famous battle of the sexes gets another mounting when Shakespeare's The Taming of the Shrew is done from Jan. 5- Feb. 4. If that is a very familiar play, next up is a world premiere: Elizabeth Egloff s The Lover, an adaptat ion of Turgenev's Crimean war-set On the Eve that runs Feb. 16- March 31.

African-American folklore is explored in George C. Wolfe's adaptation of three tales by Zora Neale Hurston in Spunk, running March 22- April 21. And the season ends on a light note with Noel Coward's amorous comedy Private Lives, from May 3- June 2. Call 410/332-0033.

C h a m b e r M u s i c S o c i e t y o f B a l t i m o r e

The Chamber Music Society of Baltimore will open at The Baltimore Museum of Art presenting the Colorado Str ing Quartet on Sunday, Oct. 1, at 8 p.m.

The Colorado String Quartet, comprising violinists Deborah Redding & Julie Rosenfeld, cellist Diane Chaplin, and guest violist John Casimir Largess (Francesca Martin Silos is on materni ty leave), will peform Haydn's "Joke" Quartet (E major, Op. 33 #2), Karel Husa's recent 4th Quar te t , and Paul Hin-demith's 3d Quartet, in celebration of the centenary of his birth.

Other concerts will include the American Chamber Players (Miles Hoffman, Artistic Director) on Sunday afternoon, Dec. 3, 1995, performing song cycles by Roger Ames, Max Raimi and Claude Debussy, and other works by Penderecki, Stravinsky and Bruch; The artists will be soprano Susan Boykan, pianist Edward Newman, violist Miles Hoffman, and Peabody faculty member Loren Kitt. On March 4, the OPUS 3 trio (violinist Charles Wetherbee, cellist David Hardy & pianist Lisa Emenheis-er Logan) performs Mario Davi-dovsky's Chacona, Charles Ives' Trio, and Brahms' great Trio in C major (Op. 87). On April 29th, Pianist Eliza Garth gives a solo recital, with music by Messiaen, Ravel, George Benjamin, Robert

A scene from Center Stage's 1994 production of Chekhov's The Cherry Orchard. Photo: Richard Anderson.

Saxton, and Robert Schumann's Kreisleriana (Op. 16). Call 410/486-1140.

The Governing Board of the Chamber Music Society of Baltimore has elected Baltimore's distinguished composer Gordon Cyr as i ts new President. Dr. Cyr recently retired from the music faculty of Towson State University.

Concert Artists of Baltimore

Presenting two subscription series each season, orchestra and vocal ensemble at LeClerc Hall on the campus of Notre Dame College and chamber music at the Walters Art Gallery, the Concert Artists under the baton of Edward Polochick, will also add a new locale for their season opener at the Gordon Center in Owings Mills which also inaugurates the Gordon Trust Concert Series in that venue on Sept. 30/Oct. 1 (see under Gordon Center) . The full ensemble dates at LeClerc Hall, all on

Edward Polochick

Saturdays, at 8 p.m., are Nov. 4, with a program including Puccini's Messa di Gloria with soloists Paul Cohill and Randal Wood-field; Feb. 10; March 30; and May 11 . The Chamber Music series at the Walters takes place on Sundays at 3 p.m. on Oct. 15, Nov. 26, March 10, and April 14. For both series Call 410/764-7371.


Colorado String Quartet

SECOND PRESBYTERIAN

CONCERT SERIES 1995-96 Season

FREE COMMUNITY CONCERTS

Candlelight Chamber Music Series

featuring members of the BALTIMORE SYMPHONY ORCHESTRA

The 2nd Sunday of every other month 7:30 pm

Sept 10 Nov. 12 Jan. 14 Mar. 10 ~

to September 17 Ann Schein, piano

3:30 pm Eari Cariyss, violin Gala series opening

October 15 Tom Hall with the 3:30 pm Baltimore Choral Alts

Chamber Chorus "What Makes Great Music Great?"

November 19 Bach in Dance 3:30 pm Bach's great organ and

instrumental masterpieces interpreted by dancers from Atlanta and Baltimore

December 17 Amahl and the Night 7:00 pm Visitors

Orchestra, professional producers, theatrical lighting

February 18 3:30 pm

Mardi2 2:00 pm

March 31 3:30 pm

April 3:30 pm

May 5 3:30 pm

BSO Principal Chair Annual Concert Phillip Kolker, principal bassoon

Russell C. Wonderlic Competition piano

Brahms Requiem Second Presbyterian Choir Ray Sprenkle, director Margaret Budd, organist Columbia Pro Cantare Frances Dawson, director Orchestra

ANNUAL STEINWAY SERIES

April 14 - Composer Mark Weiser's music April 21 - Elizabeth Moak April 28 - Winner's piano recital, Russell C. Wonderlic Competition

Edinburgh String Quartet from Scotland with elaborate Scottish reception

ALL CONCERTS AT Second Presbyterian Church

4200 St Paul Street

' NO TICKETS REQUIRED •

FOR FURTHER INFORMATION: 889-6819 OR 467-4210


BALTIMORE DATELINE

Essex Community College

Upcoming attractions at essex Community College include the "Best of Baltimore Community Theatre Showcase" on Oct. 7; Ethnic heritage Festival with displays, singing and dancing from more than 30 ethnic communities, Nov.4/5; "Gifts of the Magi" musical thea t re , Dec. 1-3; Electric Jazz, Dec. 6; Big Band Jazz, Dec. 7; Chamber Ensembles, Dec. 8; Senior Star Showcase "White Christmas," Dec. 9-12; Chamber Singers and Community Chorus, Dec. 10; Greater Baltimore Youth Orchestra, Dec. 16. Call Box Office 410/ 780-6369 or Music Department 780-6521.

Evergreen House

One of the most elegant locations for concerts in Baltimore, Evergreen House at 4545 North Charles Street hosts i ts own seriesin the Carr iage House. Dates for this season are Brentano String Quartet, oct. 20 Saturday Brass Quintet, Dec. 1 New World Guitar Trio, Feb. 23 Ensemble Anonymous, April 19, all at 8 p.m. Call 410/516-0341.

Gordon Center

Freshly opened this spring, the Gordon Center in Owings Mills already has en exciting lineup for its first full season. Events have two performances on Saturday night at 8:15 p.m. and Sundays at 7 p.m. with added Sunday matinees at 2 p.m. for some attractions. The season kicks off with Forbidden Broadway on Sept. 9 and 10, satirizing Broadway's best-known shows. But the most eagerly awaited event will undoubtedly be the American repertory Ballet Company's Romeo and Juliet, the Prokofiev ballet that is a passionate, high-renaissance artistic jewel for two performances only on Sept. 16 and 17. The Maria Benitez Teatro Flamenco dazzles with flamenco fireworks on Nov. 4 and 5. Ther

j s also a one-hour children's musical Hans Brinker & the Silver Skates' at 2:30 p.m. on Oct. 29 only.

Inaugura t ing the Gordon Trust Concert Series on Saturday, Sept. 30, at 8:15 p.m. and Sunday, Oct. 1 at 7:30 p.m is a sight and sound collaboration entitled "An American Portrait" between the Concert Art is ts of Baltimore, Edward Polochick on the podium, and the camera vir tuosi ty of James Westwater, Visual Choreo-

, grapher. The Concert Artists will provide an all-American program of Barber's Adagio for Strings and A Capella Songs, Argento's "Homage to the Queen of Tonga"

: * " : • ; - : : ; :

The American Ballet Company presents Romeo and Juliet at the Gordon Center.

James Westwater

and Copland's Old American Songs and Appalachian Spring to Westwater's evocative visuals of romantic American landscapes.

"A Windstorm" blows up on Oct. 21 in the Gordon Series with the Budapest Wind Ensemble direct from Hungary and the Budapest Opera House. The Safri Duo, two young percussionists let loose with a battery of 100 instruments including crossbow arrows, vibraphones and thunder sheets on Nov. 12 and 12. For all events at the Gordon call 410/ 356-SHOW.

Goucher College

Goucher provides a varied season of student performances but the undoubted musical highlight is always the annual Ruth Rosenberg Lecture which brings some of the greatest names to talk and perform.This season on Feb. 25, jazz legend Billy Taylor will take the stage of Kraushaar Auditorium. For information on all Goucher's events, call 410/337-6154

A scene from this past summer's production of Kismet at the Cockpit in the Court theatre at Essex Community

The Brentano String Quartet


BALTIMORE DATELINE.

Herbert Dimmock directs the Handel Choir.

Handel Choir of Baltimore

It is often remarked tha t Baltimore is a choral town. If so, it?s thanks to the efforts of people like Herbert Dimmock, Artistic Director of the Handel Choir of Baltimore, who indefatigably takes his choral forces a round local a r e a churches and other performances spaces . P r inc ipa l h i g h l i g h t s of this season are: Washington Symphon ic B r a s s a n d P e r c u s s i o n E n s e m b l e , Sep t . 17 a t 3 p .m. ; Music for a Great Space, Oct. 29 a t 1:30 p.m.; Songs Through the Ages wi th t he C h a m b e r Choir , Nov. 12, a t 3 p.m.; the Messiah, Dec. 17 at 3 p.m.; Bach's B-minor Mass, F e b . 25 a t 3 p .m. ; The Delight of Song, March 24, a t 3 p.m.; Handel's Solomon, April 14 a t 3 p .m. and H a y d n ' s Pauken Mass and Mozart's Haffner Symphony on May 19 a t 3 p.m. For these and other events call 410/ 366-6544

Hopkins Special Events

The Empire Brass t akes the stage of Shriver Hall at 8 p.m. on S a t u r d a y , Oct . 8 . T h e s e f ine musicians perform about 100 concerts a year round the world and r e g u l a r l y pop u p on t e l ev i s ion shows from the morning talks to "Mr. Rogers' Neighborhood." The Chicago Tribune t rumpe ted : "If there is a brass quintet tha t has more cha r i sma , v i r tuos i ty , a n d i m a g i n a t i o n t h a n t h e E m p i r e Brass, it hasn't yet played Chica-

go-A very different kind of music

is heard on Sunday, Nov. 19, with the "Andrew Roblin & The Pocono M o u n t a i n Men," who t a k e folk and bluegrass to its loftiest level. The Alvin Ailey Repertory Ensemble, commended by the New York Times for its "artistry and sophistication," will be seen on Sunday, Dec. 3. This is co-sponsored by the Hopkins Office of Mul t icul tura l S t u d e n t Affairs and Homewood S t u d e n t Affairs Office. Looking f o r w a r d to t h e s p r i n b g , "The M a k e m B r o t h e r s in Conce r t , " appear ing Friday, March 8, will m a k e Shr iver shake to j igs and other robust Irish folk music. Call 410/516-7157.

Hopkins Symphony

T h e o r c h e s t r a will p r e s e n t four orchestra l concerts on Oct. 21, 8 p.m.; Dec. 9, 8 p.m.; March 10, 3 p.m.; and May 4, 8 p.m. in Shr ive r Hal l on t he Homewood C a m p u s of J o h n s Hopkins Univers i ty . Pre-concert lec tures by HSO music director, Jed Gaylin will be p re sen ted pr ior to each concer t in t h e Cl ipper Room of Shriver Hall.

Guest a r t i s t s include pianis t Rachel Franklin who will perform Brahm's Piano Concerto No.l on Dec . 9 a n d v i o l i n i s t T i m o t h y Schwarz performing Beethoven's Violin Concerto on March 10. The Oct. 21 concert will feature composer/conductor Samuel Adler as g u e s t uonduc to r for b o t h h i s choral can ta ta Stars in the Dust a n d Mahle r ' s Kindertotenlieder which will be sung by bar i tone Randal Woodfield. Call 410/516-6542.

Loyola College

Take note of the date Thursday, September 21, if you want to h e a r Rumi l l a j t a , which m e a n s "City of Stone" in the Inca lang u a g e . T h i s c e l e b r a t e d folk ensemble from La Paz , Bolivia, brings t radi t ional Andean music wi th i t s h a u n t i n g panpipes and capt iva t ing rhy thms to Loyola's McManus Theater a t 12:15 p.m. in a free concert.

The Everg reen P layers will p resen t George Bernard Shaw's classic play Pygmalion Oct.27- 29 and Nov. 3-5, Finian's Rainbow in February, and Amadeus in April. The Da Camera Singers, directed by Peabody a lum Ernes t Liotti , are in concert on Nov. 8 as part of a symposium on the Writings of St. Luke with music by Bach and M o z a r t . F o r t h e s e a n d m a n y other events, call 410/617-5024.

Morgan State University Choir

The Morgan Performing Arts Series presents the Moses Hogan

CENTENNIAL CALENDAR OF EVENTS College of Notre Dame of Maryland

T h e College of Notre Dame of Maryland invites you to join us in the celebration of our Centennial year. In honor of our rich tradition, we have planned an exciting year that will fill your ears with music; open your eyes to the art; and stimulate your mind with outstanding lectures. s ^

Charles Street Players Fall Production, Pirates of Penzance by Gilbert and Sullivan Friday, Oct 20 - Sunday, Oct. 22; Thursday, Oct. 26 - Sunday, Oct. 29,

S E P T E M B E R Sr. Theresine Lectures,A Woman's Place, Lecture and Recital by Alumnae Artists Wednesday, Sept. 20,7:00 p.m.

Renaissance Institute Lectures, Reflections on Baltimore's Past, Jacques Kelly, Columnist, Baltimore Sun

loo 1 8 9 6 - 1 9 9 6

Thursday, Sept. 21,12:30 p.m., Fourier Lounge.

OPENING WEEKEND Art Opening, 100 years of Art at the College of Sotre Dame of Maryland -A Faculty Retrospective Friday, Sept. 22,7:00 p.m., Gormley Gallery.

O C T O B E R Alumnae Authors Forum, Sponsored by the English Department, Thursday, Oct. 5,9:00 a.m.- 4:00 p.m., Fourier Hall.

David Shumway, Cellist, Nannette Shannon, Pianist, and Anthony Stark, Guest Pianist and Composer Saturday, Oct. 7,7:00 p.m.

CENTENNIAL LECTURE SERIES, Lecture on the Liberal Arts Tradition, Robert Coles, M.D., Harvard University, Wednesday, Oct. 11, 7:00 p.m., LeClerc Auditorium.

NOVEMBER Concert Artists of Baltimore, Edward Polochick, Artistic Director Saturday, Nov. 4,8:00 p.m.

Renaissance Institute Lectures, The Holy Land: Living Biblical History, Betty Snyder, Renaissance Institute Instructor, Tuesday, Nov. 14,12:30 p.m., Fourier Lounge.

Chamber Ensemble of Notre Dame, Concert by Notre Dame Faculty and Guest Artists Saturday, Nov. 18,7:00 p.m.

DECEMBER Music for Fall, Solo and Ensemble Performances by Student Artists Wednesday, Dec. 6,7:00 p.m.

Concert Choir of College of Notre Dame of Maryland, Music for the Christmas Holiday Season, Sr. Joseph Mary Zimmer, Director Sunday, Dec. 10, 3:00 p.m.

For additional information, call (410) 532-5105.

College of N o t r e D a m e of Maryland 4701 North Charles Street, Baltimore. MD 21210

Chorale from New Orleans in the Murphy Auditorium on Sept. 15 at 8 p.m. The group is considered one of the best in the country for Negro Spirituals.

The Morgan State University Choir, under the baton of Music Director (and Peabody alum), Dr. Na than Carter, joins forces with the Baltimore Choral Arts Society to celebrate the 30th anniversary of BCAS a t the Meyerhoff on Nov. 18 at 8 p.m. in a all-out, ultra-theatrical presentation of Carl Orffs r o u s i n g Carmina Burana.FuU detai ls of t he Choir 's upcoming season were incomplete at press time. Call 410/319-3286 for information.

Music in the Great Hall Holding a t s concer ts a t the

Towson U n i t a r i a n Unive r sa l i s t Church a t 1710 Dulaney Valley Road on Fridays at 8:15 p.m. with repeats on Sundays at 3 p.m., the Music in the Great Hall Series is directed by Peabody alumna Virginia Reinecke. Dates are: Maia S t r i n g Q u a r t e t , Oct . 6 a n d 8; Great Hall Ensemble, Nov. 10 and 12; Yale Gordon Competition Winne r s Or lando Cotto, and B a r r y Dove, marimba, J an . 12 and 14; Ann Marie Morgan and Friends, M a r c h 8 a n d 10; V i rg in i a Reinecke and C h a m b e r Ensemble , April 26 and 28. Call 410/ 823-


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BALTIMORE DATELINE.

Students in the early years of Notre Dame.

Notre Dame The college is celebrating its

centenary this year as the first four-year Catholic College for women in the United States. The fine arts have long been part of the fabric of Notre Dame and this year there are multiple events, including a fall production of Gilbert & Sullivan's Pirates of Penzance (Oct. 20-29). Other musical offerings feature familiar Peabody faces from cellist David Shumway and friends on Oct. 7 to Edward Polochick and the Concert Artists of Baltimore on Nov. 4, Feb. 10, March 30, and May 11. There will also be a Composers' Conference on Feb. 23/24, that will provide a forum for many local area (and Peabody) composers. The final Centennial Gala will take place at the Meyerhoff and feature Kathie Lee Gifford and the Baltimore Symphony on Sunday, June 9 at 7 p.m. For full details call 410/532-5105.

Performing Arts Product ions

"Big hits, great scores and major league stars" proclaims the publicity brochure for the Performing Arts Productions organisation which will be bringing Broadway Classics to the Lyric Opera House. First up to the plate is Jerry Lewis in Damn Yankees, a revival of the 1950s classic. Damn Yankees, which plays from Sept. 26-Oct.l, tells the story of an extremely devoted middle- aged Washington Senators fan who sells his soul for a chance to play on his favorite team. Alfred Hitchcock made Dial M for Murder, about a man who tries to murder his wife, famous in a movie starring Grace Kelly. The original play written by Frederick Knott will send chills down your spine from Oct. 24-29. Another revival of an old classic, the musical She Loves

Me, by the same team that created Fiddler on the Roof, stops over in Baltimore from Dec. 26-31. From Jan. 30-Feb.4, The Music of Andrew Lloyd Webber will feature songs from Sunset Boulevard and other megahits from Phantom to Jesus Christ, Superstar. Yet another blockbuster revival which won a current Tony Award, Carousel, comes direct from Broadway for a March 19-24 run. The last show has a self-explanatory t i t le , Theodore Bikel in Fiddler on the Roof. No more needs to be said, except its dates — May 7-12. Call 410/494-2712 or outside Baltimore 1-800-669-STAGE.

Pro Musica Rara

Artist ic director Shirley Mathews has programmed Five Sundays at 3:30 p.m. at the Baltimore Museum of Art for pro Musica Rara. First up on Oct. 1 is "Bach's Trumpet" featuring John Thiesssen on baroque trumpet. Henry Purcelfs Orpheus Bri-tannicus is presented on Nov. 19. "Superbaroque Sunday" is proclaimed for Jan. 28. The "Three B's" (Bach, Buxtehude and Bois-mortier) are bonded together on march 17. The April 14 concert is simply entitled "Papa Haydn." Call the BMA at 410/486-4616

Second Presbyter ian

Under the energetic direction of organist Margaret Budd, the Second Presbyter ian Concert Series continues to grow and develop. As an opening "Extra," duo-pianists Virginia Reinecke and Robert Twynham, both Peabody alumni, will repeat Olivier Messiaen's Visions de LAmen (1945) on Sunday, Sept. 10, at 3:30 p.m. The first Baltimore performance of this work was given at the Cathedral of Mary Our Queen last season.

Two distinguished Peabody

The Beaux Arts Trio performs at Shriver.

facuty members open on Sunday, Sept. 17 at 7:30 p.m.— pianist Ann Schein and violinist Earl Carlyss. They are followed by Tom Hall and the Chamber Chorus of the Baltimore Choral Arts Society on Sunday, Oct. 15 at 3:30 p.m. Tom will speak on "What makes great music great?" and use his choral forces to illust r a t e . Nov. 19, at 3:30 p.m. brings "Bach in Dance," a blend of local area dancers and musicians. The Christmas offering, Dec. 17, at 7 p.m., is Menotti's beloved one-act opera Amahl and the Night Visitors. Phillip Kolker, Principal Bassoon with the Baltimore Symphony and Peabody faculty member takes the stage on Feb. 18 at 3:30 p.m. The Judging of the Russell C. Wonderlic Memorial Competition, this year featuring pianists, is open to the public on March 2, at 2 p.m. Columbia Pro Cantare joins forces with the Second Presbyterian Church Choir to present Brahms' German Requiem on March 31, at 3:30 p.m. Three Sundays in April present composer Mark Lanz Weiser (April 14), pianis t El izabeth Moak (April 21) and this year's winner of the Wonderlic Competition (April 28) all at 3:30. An occasion with a Scottish flavor takes place on May 5 with the Edinburgh Quartet on stage and a Scottish reception following.

In addition, Second Presbyterian hosts members of the Baltimore Symphony Orchestra in a Candlelight Chamber Music series on Sept. 10, Nov. 12, Jan. 14 and March 10. The Handel Choir of Baltimore will give Handel's Messiah on Dec. 9, at 7:30 p.m. and Bach's Mass in b minor on Feb. 25. Call 410/889-6819 or 467-4210.

Shriver Hall Concert Series

Many distinguished performers have graced the stage for the

Shriver Hall Concert Series, and the upcoming 30th anniversary season adds some more names to that list.

First to hit the stage is the Beaux Arts Trio on Sep. 30 at 8:30 p.m., followed by pianist Peter Serkin on Oct. 22 at 7:30 p.m., the Emerson String Quartet on Dec. 10 at 7:30 p.m., soprano Lauren Wagner (a Yale Gordon Young Artist) on Feb. 4 at 7:30 p.m., violinist Pamela Frank and pianist Claude Frank on March 16 at 8:30 p.m., cellist Stephen Kates on April 13 at 8:30 p.m., and TASHI on May 5 at 7:30 p.m. Call 410/516-7164.

Towson State University

The location for the Maryland Arts Festival each summer, Towson State Unviersity programs multiple music, dance and other cul tural a t t rac t ions throughout the academic year, including a festive season Nutcracker, a TSU Orchestra (conducted by Peabody grad Cyrus Ginwala), Festival Chorus, Towson Chamber Players, a Massed Clarinet Choir and Woodwind Ensemble, Faculty Baroque Ensemble, Jazz Ensemble, Guitar Ensemble, Symphonic Band, Early Music Ensemble, Student Composer Performances, Musical Theatre lectures/demonstrations, Guest Artist Recitals, and even a Chinese Kun Opera Master Class/Lecture/Performance over the weekend of October 21/21. For full details call 410/830-2796.

UMBC

Events to take note of this season include a retrospective on the work of UMBC faculty composer Stuart Saunders Smith, Oct. 6-7; UMBC Symphony, conducted by Peabody faculty member Wayne Cameron, Oct. 15; Julia Whybrow on recorder, Oct. 18. Call 410/455-2942 or 410/455-MUSC.


WASHINGTON DATELINE

American Chamber Orchestra

We're not the only ones who get bubbly where the Peabody name is concerned. A case in point is that The Peabody Trio is opening the American Chamber Orchestra's "Champagne Series" at the French Embassy auditorium on October 20 at 8 p.m. Complimentary French champagne and free parking are included in the ticket price.

The winners of the 1989 Naumburg Chamber Music Award, the Peabody Trio was formed in San Francisco in 1986 and began a full-time residency at the Peabody in 1987. The trio is comprised of violinist Violaine Melancon, cellist Thomas Kraines, and pianist Seth Knopp.

Next up for the American Chamber Orchestra series is the Manhat tan String Quartet on November 10 at 8 p.m.. There is a Christmas concert on December 8 at 8 p.m. and December 10 at 3 p.m. The orchestra chorus, soloists and WGMS radio personality Dennis Owens present an abridged version of Dickens' A Christmas Carol, The performance will be led by music director William Yarborough, who was once a student at Peabody. He'll conclude the evening with French and English Christmas carols.

The Opus 3 Trio finishes out the season with concerts on March 22 at 8 p.m. and April 19 at 8 p.m. Call 301/656-8173.

Cathedral Choral Society

Some things are built to last. Cathedrals, for one, and music series for another. The Cathedral Choral Society is heading into its 54th season in Washington National Cathedral. Works by Brahms and Hindemith are featured on the opening concert bill on November 12 at 4 p.m., which will be guest conducted by Robert Shaw. Big Christmas concerts are planned for December 9 and 10 at 4 p.m. both days.

Then the Cathedral Choral Society joins forces with the Washington Bach Consort for a performance of William Walton's Belshazzar's Feast, featuring baritone soloist Kevin McMillan, on March 3 at 3 p.m. in the Kennedy Center Concert Hall. It's back to the National Cathedral for Berlioz's Requiem on May 19 at 4 p.m., with tenor soloist Scott McCoy. As a nonsubscription item, the Bach Choir of London appears on April 20 at 7 p.m. Call the Cathedral Choral Society at 202/537-8980.

The Choral Arts Society of Washington

First we must congradulate Music Director Norman Scribner (a Peabody alum), who was awarded the James L. McLain Award by the American University Department of Performing Arts for his outstanding service to the musical community. Scribner, is one of Washington's most versatile and respected musical figures. For the past 30 years he has been music director of the Choral Arts Society of Washington, and was named in 1984 "Washington-ian of the year."

Upcoming with the CASW are Haydn's The Creation on November 5 at 8 p.m., featuring soprano Janice Chandler; four performances of its annual Christmas Music concerts on December 10 at 5 p.m., December 12 at 7 p.m., December 17 at 5 p.m., and December 22 at 1 p.m.; Dvorak's Stabat Mater on March 31 at 3 p.m., featuring mezzo-soprano Denyce Graves; and Thomas Bev-eridge's Yizkor Requiem and Vaughan Williams' Mass in G Minor on April 28 at 8 p.m.

Also, the Choral Arts Society has expanded its annual choral t r ibute to Dr. Mart in Luther King, Jr. from one to two performances: January 8 at 8 p.m. in the Kennedy Center Concert Hall and January 15 at 8 p.m. at the Lincoln Theater.

The Choral Arts Society also appears with the National Symphony Orchestra in NSO concerts on November 9 and March 21, 22 and 23. Call 202/244-3669.

Freer Gallery of Art

Many Smithsonian museums host concert series but the one whose season announcement is to hand at press time is the Freer Gallery of Art. Their "Bill and Mary Meyer Concert Series" in the Meyer Auditorium brings some illustrious names to town, including Jud i th Serkin and Friends, Oct. 17; Cleveland Quartet, Oct. 27; violinist Cho-Liang Kim and pianist Andre Michel Schub, Nov. 28; Musicians from Marlboro, Dec. 6; Shanghai Quartet , Feb. 15; Musicians from Marlboro 11, March 4; pianist Emanuel Ax, March 14; and Musicians from Marlboro 111, April 24. Concert times are at 7:30 p.m. and, as the galleries remain open until that time, it is possible to arrive early and spend time in this wonderful museum on the Mall prior to concert time. Call 202/357-4880 X 411.


• * • • * ? Sublime, Exhilarating,

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Candlelight Concert Society's 1995-96 Concert Season.

Richard Goode, piano October 1, 1995 (Sunday 3:00 pm) Chanticleer October 15, 1995 (Sunday, 3:00 pm) The Ying Quartet December 2,1995 Billy Taylor Trio : January 6, 1996 Sequentia January 20,1996 Anner Bylsma, cello & Malcolm Bilson, fortepiano February 2, 1996 Brentano String Quartet February 17,1996 Earl Carlyss, violin & Ann Schein, piano March 16,1996 Rieko Aizawa, piano March 30,1996 Guarneri String Quartet April 13,1996 Yolonda Kondonassis, harp & Eugenia Zukerman, flute April 271996 Music from Marlboro May 4,1996 All concerts will be held at the Howard Community College, Smith Theater - Columbia, Maryland. Except where noted, all concerts are at 8 p.m., Saturdays. Tickets may be purchased at the door or by phone. For concert and subscription information, please call:

The Candlelight Concert Society (410)715-0034 or (301)596-6203

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w Sunday, September 17,1995

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The Carroll County Farm Museum is a facility within the Carroll County Recreation & Parte Department.

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WASHINGTON DATELINE

Joseph Currie gives recital at the French Embassy.

French Embassy

So many Washington embassies provide concerts and other cultural events that we cannot list them all. However, special mention should be made of that haute maison of culture, La Maison Francaise, the Embassy of France at 4101 Reservoir Road NW, which is especially active on the cultural scene. A Friday, Oct. 27 event at 8 p.m. at the Embassy features pianists Joseph Currie and Barbro Dahlman (Currie is a Peabody alum) in an all-Chopin program. A short play will precede the recital with a surprise guest, and a recepton follows. Not the least of its a t t rac t ions is the Embassy's free evening parking! Call 202/387-4933.

The Folger Consort

One of the pleasures of visiting the Folger Shakespeare Library is to experience how well its events fit within its Elizabethan architectural trappings. In addition to the exhibits, garden tours, literary readings, and children's programs, the Folger Consort is happily ensconced here. As part of its 1995- 1996 season, you can look ahead to the Folger Consort's Oktoberfest from October 13- 15. Renaissance music is performed at that concert by baritone Peter Becker and a selection of wind and stringed instruments. Call 202/544-7077.

Wolf Trap

Although the summer is almost over, there are some summer music series extending their warmth into September. Down at busy Wolf Trap in Vienna, Va., you can see a Broadway-bound production of the Rodgers and Hammerste in musical "State Fair" from August 29- September 3, the Gipsy Kings on September 4 and 5, the Kirov Ballet's "Cinderella" on September 7- 9, Julio Iglesias on September 10, and an International Children's Festival on September 23 and 24. Call Wolf Trap at 703/218-6500A

Kennedy Center By Mike Giuliano

Longtime Washingtonians may think of the Kennedy Center as a relatively recent addition to the cul tural landscape, but enough seasons have gone by that this temple of culture is about to embark on its 25th anniversary season.

Among the celebratory touches planned is "American Fanfares," a cycle of fanfares funded by the John and June Hechinger Commissioning Fund. More than 20 American composers have been selected for the project, with each fanfare using a different instrumental combination. Among the composers selected are Samuel Adler, David Sampson, Truman Harr i s , David Winkler, Ellen Taafe Zwilich, Jeffrey Mumford, George Tsatakis , Ron Nelson, Robert Rodriguez, Paul Epstein, Anne LeBaron, Bruce Adolphe and William Komaiko. Four fanfares already have been programmed for this season, with others to be added as the compositions are finished.

The NSO's new director, Leonard Slatkin will really be able to strike up the band with these short commissions streaming in. In addition, John and June Hechinger also have commissioned two other works being given their world premieres this season: Stephen Hartke's "Ascent of the Equestrian on a Balloon" and a new orchestral work by Peter Schickele.

But lest you think Slatkin is intent on making the NSO an all-

American outfit, he does have his feet firmly planted in the standard repertory. The 1995-1996 season will focus on the symphonies and concertos of tha t avant-garde composer of the early 19th century, Ludwig van Beethoven. And Slatkin wants audiences to make connections between Beethoven and later composers, as when Sir Neville Mar-riner conducts both Beethoven's Symphony No. 7, with its dancelike a t t r ibu tes , and Bartok's "Dance Suite."

This season's opening program speaks to some of the above-mentioned emphases. Conductor Zdenek Macal and soprano Carolyn Blackwell are featured for concerts on September 7, 8, 9 and 12 in which we'll hear Smetana's Overture to "The Bartered Bride," Strauss's "Brentano Lieder" Op. 68, the world premiere of Zwilich's Orchestral Fanfare , and Beethoven's Symphony No. 3 in E-flat major Op. 55.

Among the conductors who'll be occupying the podium in the months ahead are Raymond Lep-pard, Lawrence Foster, George Manahan, Sian Edwards, Hugh Wolff (who did graduate study at Peabody), Roger Norrington, James DePreist, Eri Klas, Robert Spano, Elizabeth Schulze, Christof Perick, Marek Janowski, Neeme Jarvi and Barry Jekowsky.

Soloists include violinists Pamela Frank, Pinchas Zukerman, Nadja Salerno-Sonnenberg, Cho-Liang Lin, Maria Bachmann, Thomas Zehetmair and Laurence Kayaleh; pianists Horacio Gutierrez, John Browning, Stephen Hough, Chr is t ian Zacharias ,

Katia and Marielle Labeque, Rudolf Buchbinder, Christopher O'Riley and Joseph Kalichstein; clarinetist Richard Stoltzman; and mezzo-soprano Jard van Nes.

Besides keeping an ear tuned to what Slatkin is up to in the subscription season in the Concert Hall , the 1995-1996 season reflects his impact on classical programs going into the rooftop Terrace Theater. This intimate, 500-seat theater is itself entering into its 15th season.

And it 'll follow through on Slatkin 's Beethoven focus, as interpreted by performers including the Golub-Kaplan-Carr Trio, violinist Maria Bachmann, the Guarneri Quartet , the Kalich-stein-Laredo-Robinson Trio, the Lark Quartet, and pianists Brian Ganz, Abbey Simon, Ralf Gothoni and Joseph Kalichstein.

There'll also be newly written music heard upstairs at the Terrace Theater throughout the season. On the new music front, the final event of the Kennedy Center Friedheim Awards - this year honoring new chamber music by American composers - is scheduled for the Terrace on October 29 at 4 p.m.

Similarly qualifying as new, or at least new to Washington audiences, will be performers making their DC debuts up in the Terrace: pianist Eldar Nebolsin, lyric soprano Theresa Santiago, pianist Davide Franceschetti, and pianist Ralf Gothoni.

Although there are a number of upcoming Terrace concerts that seem promising, we can't restrain our provincial pride in nudging our readers towards two of particular interest: a veteran Peabody faculty member, p ianis t Ann Schein, joins with the Cavani String Quartet, for a concert on October 17 at 7:30 p.m.; and a Peabody grad, pianist Brian Ganz, gives a recital on November 29 at 7:30 p.m.

Also on the classical music front at the Kennedy Center, the numerous concerts and special events planned for the Concert Hall include a gala concert by the Pittsburgh Symphony on October 25 at 8:30 p.m. Part of the orchestra's 100th anniversary tour, this performance features music director Lorin Maazel and the Washington solo debut of 15-year-old violinist Hilary Hahn, a talented Baltimorean who studied at the Peabody Prep with Klara Berkovich.

The Kennedy Center is jazzing up its schedule in other ways, too. Pianist Billy Taylor, the center's artistic advisor for jazz, will be tickling your imagination along with the ivories with his '95-96 plans.

Especially ambitious is a new "Art Tatum Piano Panorama"


WASHINGTON DATELINE

series offering a five-concert, solo piano format on Fridays a t 7:30 p .m . in t h e T e r r a c e T h e a t e r : Dorothy Donegan on September 22, Sir Roland Hanna on October 20, Ramsey Lewis on J a n u a r y 19, Hank Jones on February 2, and Kenny Barron on March 15.

Following each performance, concertgoers have the option of par ty ing on by joining the featured art is t in the Roof Terrace R e s t a u r a n t for a n i g h t c a p of young local jazz ta lent , dessert and coffee, and pe rhaps a j a m s e s s i o n or two b e t w e e n t h e evening's star and the young performers.

T a y l o r a l so c o n t i n u e s a s host of his "Jazz at the Kennedy Cen te r " se r ies co-produced by Nat ional Public Radio. He and his trio will be joined in the Terrace Theater and Theater Lab by upcoming guests including singer Dianne Reeves on October 2, saxophonist Lee Konitz on October 16, t r u m p e t e r H a r r y "Sweets" E d i s o n on October 30 , s i nge r Nancy Wilson on November 13, a n d s i n g e r J o e W i l l i a m s on December 4.

Doug Richards and his Richmond-based big band, the Great A m e r i c a n M u s i c E n s e m b l e , anchor the sixth season of the M a r t i n Wil l iams Terrace J a z z Series. His band will do arrangem e n t s of t h e composers Duke Ellington on September 23, Cole P o r t e r on December 5, F r a n k F o s t e r on F e b r u a r y 12, a n d Woody H e r m a n on M a r c h 2 3 . This season, Richards' big band will shift to the Encore Cafe after the September 23 and March 23 Terrace Theater concerts to play dance music in a cabaret setting.

A very special jazz event will be " G r e a t V ibes : A S a l u t e to Lionel Hampton," honoring the g r e a t v i b r a p h o n i s t a n d b a n d l eade r in t he Concer t Ha l l on Sep t ember 10 a t 8 p .m. Many jazz greats are expected to perform and reminisce.

Also on September 10, jazz is an impor tan t component of the Kennedy Center ' s annua l open house. There will be free perform a n c e s of j a z z , b l u e s , R&B, gospel, country, rap , bluegrass, folk a n d o t h e r p o p u l a r mus ic from noon to 6 p.m. Headlining these day-long "Roots of American Music" concerts throughout the Kennedy Center complex is blues guitarist Robert Cray and his band.

Shif t ing from music to t he o t h e r p e r f o r m i n g a r t s , t h e Kennedy Center's theater season includes Carol Channing reprising her most famous role in Hello Dolly a t the Opera House from September 11 to October 8; Ter-rence McNally 's Master Class, s t a r r i n g Zoe Caldwel l as d iva Maria Callas, in the Eisenhower

Theater , from September 22 to October 22; Edward Albee's 1994 Pu l i t z e r P r i ze -winn ing d r a m a Three Tall Women in the Eisenhower Theater from November 6 to December 2; a new Kennedy C e n t e r p roduc t ion of Rodgers a n d H a m m e r s t e i n ' s The King and I in the Opera House from December 26 to February 4; and Disney's musical Beauty and the Beast o p e n i n g J u n e 6 in t h e Opera House.

F o r t h e v e n t u r e s o m e , t h e fifth season of "Something New at t h e Kennedy Center" offers the Cloud Gate Dance Theater of Taiwan in the Opera House on October 14 at 8 p.m.; monologue m a s t e r Spald ing Gray doing a Kennedy Center-commissioned piece in theTerrace Theater that will be performed in two par ts , " I n t e r v i e w i n g t h e A u d i e n c e " from F e b r u a r y 8 to 10 and "A Work in Progress" from February 20 to 25 at 7:30 p.m.; Japanese des igner Hiroshi T e s h i g a h a r a c rea t ing env i ronmen ta l sculpt u r e s in t h e roof-level a t r i u m from March 24 to 27, wi th an associa ted performance in t he Terrace Theater TBA; and Germany's Ensemble Modern, conduc ted by Amer ican composer John Adams, in the Concert Hall on April 16 at 8:30 p.m.

In dance, the Kennedy Cente r both explores the history of modern dance and continues its c o m m i s s i o n s in t h e s e a s o n ahead. Highlights include a comp a n y special ly assembled and directed by Suzanne Farrell performing an all-Balanchine program in the Opera House from October 17 to 22; t h e M a r t h a Graham Dance Company in the E i s e n h o w e r T h e a t e r from November 2 to 5; the Joffrey Ballet 's "Victorian American" version of The Nutcracker in t h e Opera House from December 6 to 16; a n d t h e I s a d o r a D u n c a n Dance Ensemble in the Terrace Theater on January 5 and 6.

Also, the Denishawn Repertory Dancers in the Terrace on J a n u a r y 29 a n d 30; C o n s o r t : Mezzacappa/Gabrian in the Terrace on February 27 and 28; the Limon Dance Company in t he T e r r a c e on M a r c h 29 a n d 30; Doug Varone and Dancers in the Terrace on April 24 and 25; the Joffrey r e tu rn ing to the Opera House for a mixed repertory program from May 14 to 19; American Ballet Theater in the Opera H o u s e from M a r c h 26 to 3 1 ; Dance Theatre of Harlem in the Opera House from Apri l 30 to May 12; and the Washington

Bal le t in t h e Ter race from September 26 to October 1, the Eisenhower Theater from February 20 to 25, and t h e Te r race from May 7 to 12.


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1995-96 BSO SEASON OPENS

S E P T E M B E R 14 Thursday at 8:15 p.m. 15 Friday at 8:15 p.m. David Zinman, conductor Nancy Maultsby, mezzo-soprano Women of the Baltimore Symphony

Chorus Mahler: Symphony No. 3 Tickets $18, $24, $30, $36, Boxes $51.

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15 Friday at 7 p.m. Classic Conversation with BSO cellist Kenneth Willaman. Sponsored by the Baltimore Symphony Associates. Free to ticketholders for this concert.

22 Friday at 8:15 p.m. 23 Saturday at 8:15 p.m. 24 Sunday at 3 p.m. Stanislaw Skrowaczewski, conductor Rossini: II viaggio a Reims Overture Schubert: Symphony No. 8,

"Unfinished" Tchaikovsky: Symphony No. 6,

"Pathetique" Tickets $18, $24, $30, $36, Boxes $51. Sunday Tickets $15, $23, Boxes $35.

28 Thursday at 8:15 p.m. 29 Friday at 8:15 p.m. 30 Saturday at 11 a.m. (Casual Concert Program*) Zdenek Macal, conductor John Browning, piano Brahms: Piano Concerto No. 1 * Brahms: Symphony No. 2 Tickets $18, $24, $30, $36, Boxes $51. Saturday tickets $10, $17, Boxes $26

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BALTIMORE SYMPHONY ORCHESTRA Z t N M A N


WASHINGTON DATELINE

The Oratorio Society of Washington

Celebrating its 35th anniversary season and its 25th under the direction of Robert Shafer, The Oratorio Society of Washingt o n a g a i n b r i n g s i t s m u s i c a l forces to t he K e n n e d y C e n t e r Concert Hall.

The season begins wi th an all-Mozart program on October 29 a t 3 p .m. F e a t u r e d a r e his Requiem and Coronation Mass. Then the men of the OSW participate in a series of Prelude Conc e r t s p r e c e d i n g t h e N a t i o n a l Symphony Orchestra's subscription concerts on November 9, 10 and 11. NSO music director designate Leonard Slatkin conducts the orchestra and chorus of 200 men's voices in John Corigliano's Of Rage and Remembrance.

With the holiday season in mind, the Oratorio Society pres e n t s i t s a n n u a l M u s i c for Christmas concerts on December 19 at 7 p.m., December 22 at 8:30 p.m., and December 23 a t 2 p.m.

The Society continues its season with a second appearance on the NSO schedule, as Leonard Sla tk in conducts the orches t ra and chorus in Berlioz' Romeo and Juliet on February 1, 2 and 3.

On Easter Sunday, April 7 at 3 p.m., the Oratorio Society concludes i ts Kennedy Center season w i t h B e e t h o v e n ' s Missa Solemnis. Call 202/342-6221.

Stra thmore Hall Arts Center

The "Music in the Mansion" ser ies a t t h e S t r a t h m o r e Ar t s Center located at 10701 Rockville Pike, Nor th Bethesda, features the Inca folk ensemble Rumillaj-ta, Sept. 2; Peabody's own Maia Quarte t , Oct. 12; Leander Bien and Ignat Solzhenitsyn, Oct. 25-26; J a y Ungar & Molly Mason, Nov. 16; Columbia Pro Cantare C h a m b e r S i n g e r s , Dec. 10; Melvyn Tan , Feb . 2; Mer id ian Arts Ensemble , March 15; and the Baltimore Consort on one of t h e i r few a p p e a r a n c e s in t h e local a r e a on M a r c h 17. Cal l 3017530-0540.

Theater Chamber Players

Entering its 28th season, the Theater Chamber Players has a series of four concerts planned. As usual giving you the option of h e a r i n g t h e s e concer t s e i t h e r Sa turday evenings a t 7:30 p.m. at the Kennedy Center Terrace Theater or Sunday afternoons at 3:30 p.m. at Bradley Hills Presb y t e r i a n Church in B e t h e s d a ,

Formed in 1990, the Maia String Quartet is one of the younger upcoming string ensembles. Now in residence at Juilliard, they spent two years at the Peabody Conservatory being coached by Earl Carlyss. The Quartet performs at Strathmore Hall on October 12.

th i s ensemble is co-directed by P e a b o d y ' s Leon F l e i s h e r a n d Dina Koston. In fact, Peabody t a l e n t h a s a l w a y s p l a y e d a prominent role in this group.

Jus t look at the season-opening concerts on October 7 and 8, at which Fleisher will premiere a n e w work w r i t t e n for h i m by Koston for piano left hand, contrabass and drums. Guest art is t baritone John Shirley-Quirk and F l e i s h e r per form S c h u m a n n ' s Heine Lederkreis. W o r k s by Gyorgy K u r t a g and Haydn fill out the bill, with other performers including Phyllis Bryn-Julson.

A holiday concert on December 16 at Bradley Hills features the vocalizing of Patricia Green, S t a n l e y C o r n e t t a n d J o h n Shirley-Quirk in medieval English carols and Britten's Canticle IV: Journey of the Magi. Also schedu led a r e works by Anne LeBaron, Schumann, and Bach.

On January 20 and 21 Fleis-er accompanies Brynn-Julson in a Schumann song cycle, and he also performs the Brahms Piano Quartet in G minor, Op. 25. Two string quartets by Webern and a s t r i n g t r i o by L a u r a Schwendinger are also featured.

T h e n on M a r c h 2 you can hear Maurice Ravel's "Chansons M a d e c a s s e s " a n d T r io , a n d George Crumb's "Black Angels" for ampl i f i ed s t r i n g q u a r t e t . March ' s concert will be in t h e Smithsonian's Baird Auditorium. Call 301/469-0196.

Washington Bach Consort

The Washington Bach Consort, directed by J. Reilly Lewis, offers all the most magnificent choral works this season, including Handel's Messiah, Bach's St. Matthew Passion, a n d "Bach-bus te rs , " an all-Bach extravag a n z a f e a t u r i n g B a c h ' s b e s t choral, instrumental , and organ music. Concerts are held at the Metropoli tan Uni ted Methodist Church and St. Paul's Lutheran Church in nor thwest DC. Call 202/337-1202.

Washington Ballet

D e t a i l s of t h e full s e a s o n were incomplete at time of going to press but from Sept. 27-Oct. 1, D.C. ba l l e tomanes can see t he winners of the Helsinki International Ballet Competition a t the Kennedy Center 's Terrace Thea t e r , p e r f o r m i n g b r a n d n e w works t h a t also won pr izes in choreography in Helsinki. Call 202 /467-4600 . F e s t i v e s e a s o n offerings will include The Nutcracker at the Warner Theatre at 1299 Pennsylvania Avenue, Dec. 8-26. Call 202/432-SEAT.

And Baltimorean ballet fans can look forward to a production of Hansel and Gretel, choreographed by Rick McCullough to Engelbert Humperdinck's opera score on April 5 and 6 a t Baltimore's Morris Mechanic Theater.

Washington Chamber Symphony

After 20 years, the Washington Chamber Symphony certainly knows how to please an audience. A crucial component of its approach is to offer concertgoers opt ions t h a t encompass every member of the family.

The Concerts for Young Peop l e , for i n s t a n c e , f ind m u s i c director Stephen Simon educating and e n t e r t a i n i n g t h e next generation of concertgoers in the Kennedy C e n t e r Te r r ace Theater. These programs are on Saturdays and Sundays at 2:30 p.m. This year's concerts are on October 14 and 15, December 9 and 10, March 9 and 10, and May 18 and 19.

A Fami ly Ser ies on S a t u r days and Sundays a t 2:30 p.m. in the Kennedy Center Concert Hall p r e s e n t s t h e a n n u a l H o l i d a y S p e c t a c u l a r S ing -Along on December 2, and Stories in Music rend i t ions of Prokofiev's Peter and the Wolf and S t r a u s s ' The Merry Pranks of Mischievous Master Til" on April 14.

C h i l d r e n who 've r e c e i v e d

t h a t sor t of musica l educat ion will be primed to become audience members for the Chamber Orchestra series on Fridays and S a t u r d a y s a t 7:30 p.m. in t h e Kennedy C e n t e r Te r race Theater. Upcoming in this series are works by Vivaldi, Argento and H a y d n on October 13 a n d 14; Bach , Viva ld i a n d M o z a r t on December 8 and 9; Handel and H a y d n on J a n u a r y 26 and 27; M o z a r t , C a r m e l o P ino a n d Beethoven on March 8 and 9; and H a n d e l , N o r a D a v e n p o r t a n d Bizet on May 17 and 18.

There's also a Musical Mas-terworks Series on Thursdays at 7:30 p.m. a t t h e Hol ton-Arms School in Bethesda . Upcoming are "Music with a Story" on October 12, "Of Chorus You Can" on J a n u a r y 2 5 , a n d "Hug Me, Squeeze Me, I'm an Accordian" on March 7.

A Recitalist Series on Saturdays a t 8 p.m. a t the Corcoran Gal le ry of Ar t f e a t u r e s t r u m p e t e r s D e n n i s E d e l b r o c k a n d Robert Hazen on November 4, F r e n c h h o r n p l a y e r S a m u e l C o m p t o n on J a n u a r y 20 , t h e Ecco Trio on Februa ry 10, and oboist Phyllis Lanini on April 27.

And H a n d e l ' s b i r t h d a y is observed on February 24 at 2:30 p.m. in the Kennedy Center Concert Hall, as an all-star cast and chorus go all out. Call 202/452-1321.

Washington Concert Opera

Opera megastar James Morris sings the title role in The Flying Dutchman with the Washington Concert Opera.

One of the newer organisat ions in D . C , t he Wash ing ton Concert Opera gives two presentations a year at Lisner Auditorium on the campus of Washington University at 24th and H Streets N.W.

This fall's production is Wagner's Flying Dutchman, s tarring J a m e s M o r r i s a n d D e b o r a h Voight, on Sept. 8 a t 7:30 p.m. and Sept. 10 at 6 p.m. The summer 1996 production is still to be announced. Call 202/333-1768


WASHINGTON DATELINE

Washington Opera

Celebrating its 40th anniversary season and routinely playing to sold-out houses, the Washington Opera is one of the ongoing success stories on the Washington cu l tura l scene. And the u p c o m i n g s e a s o n a c t s a s a f a rewe l l for r e t i r i n g g e n e r a l m a n a g e r M a r t i n F e i n s t e i n , whose successor, tenor superstar Placido Domingo, will take over artistic leadership of the Washington Opera in 1996.

T h e '95- '96 s e a s o n offers V e r d i ' s Luisa Miller in t h e Kennedy Center Opera House on November 4, 9, 12, 14, 17, 20 and 25; Strauss's Der Rosenkavalier in the Opera House on November 11 , 13, 16, 18, 2 1 , 24 a n d 26; Rossini's Barber of Seville in the Kennedy Cen te r ' s E i senhower Theater on December 23, 26, 27, 29, 31, January 7, 12, 15, 20, 23, 25, 28, 31 , and February 3; and H a n s Krasa's Betrothal in a Dream i n t h e E i s e n h o w e r on January 6, 8, 14, 17, 19, 22, 26, 30, February 1, 4, 8 and 10.

Also, Massenet 's Werther in the Eisenhower on J a n u a r y 13, 16,18, 21, 24, 27; 29, February 2, 5, 7, 9 and 11; Boito's Mefistofele, with Samuel Ramey making his company debut in the title role, in the Opera House on February 29, March 3, 5, 8, 11, 13 and 16; and Mozart's Cosi Fan Tutte in the Opera House on March 9, 12, 14, 18, 20 , 22 a n d 24. Cal l 202/416-7800.

Washington Performing Arts Society

The upcoming season is so full tha t we'll give you but a tantalizing sample here. September k i cks off w i t h s o p r a n o D a w n U p s h a w in r e c i t a l a t t h e Kennedy Center Concert Hall on September 16 a t 5 p.m. Singer and p ian i s t Michael Fe ins t e in

leads a 30th anniversary concert a t t he Warner Thea te r on September 30 at 7:30 p.m.

An a b u n d a n c e of Oc tobe r e v e n t s i n c l u d e s t h e T r i s h a B r o w n D a n c e C o m p a n y in George Washington University's Lisner Auditorium on October 20 and 21 a t 8 p.m.; and the BBC Symphony Orchestra, with chief conductor Andrew Davis and violinist Nadja Salerno-Sonnenberg, in the Kennedy Center Concert Hall on October 22 at 2 p.m.

D i p p i n g i n t o N o v e m b e r , there are the Bolshoi Symphony Orches t ra , wi th music director Alexander Lazarev and pianis t B o r i s B e r e z o v s k y , in t h e Kennedy Center Concert Hall on November 5 a t 3 p.m.; violinist I t zhak Pe r lman in the Concert H a l l on N o v e m b e r 13 a t 7:30 p.m.; and pianist Mitsuko Uchi-d a in t h e C o n c e r t H a l l on November 15 at 8:30 p.m.

Among many others in the s t e l l a r l i n e u p a r e b a r i t o n e Dmitri Hvorostovsky in the Concert Hall on December 1 at 8:30 p.m.; pianist and Peabody grad S t e p h e n P r u t s m a n in t h e Kennedy Center Terrace Theater on December 2 a t 2 p.m. in his Kennedy Center reci ta l debut; t h e C u b a n N a t i o n a l Folklor ic D a n c e E n s e m b l e in George Washington University's Lisner Auditorium on J a n u a r y 27 at 8 p.m.; t h e Veryovka U k r a i n i a n National Dance Company in the Concert Hall on February 4 at 3 p.m.; the St. Petersburg Philharmonic, with associate principal conductor Mar iss J a n s o n s and pianist Emanuel Ax, in the Concer t Hal l on F e b r u a r y 11 a t 3 p.m.; the Alvin Ailey American Dance Thea te r in the Kennedy Center Opera House from February 13- 18; mezzo-soprano Cecilia Bartoli and pianist Andras Schiff in the Concert Hall on March 22 at 8:30 p.m.; pianist and Peabody grad Awadagin Pra t t in the Concert Hall on April 27 at 5 p.m.; a n d on a n d on. Cal l 202 /833-9800.

Moroccan musicians from the Riff Mountains appear in Concert Society at Maryland Season, page 41

63ALTIMORE (2>PERA (COMPANY

MICHAEL HARRISON, GENERAL DIRECTOR

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STARRING CRISTINA GALLARDO-DOMAS, MARIA PELLEGRINI (10/21), DON BERNARDINI, WALTER MACNEIL (10/21) & MARK DELAVAN.

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1995-1996 BALTIMORE CHORAL ARTS SOCIETY SEASON

Gala Anniversary Concert Saturday, November 18 OrfF 8:00 p.m. at Carmina Burana Joseph Meyerhoff Hailstork Symphony Hall Spiritual Suite Hovhaness, Mechum and Thompson Three American Alleuias

T I M O R E

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Songs from Scripture Honegger King David

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Add some Music to Your Life.

40 Peabody News Jan/Feb 1995

• $£&'fy QJm Wound Eddy Williams speaks with Prep Voice Co-Chairs Elizabeth Hart and Helen Strine

It all begins with the breath. In the cradle, the baby's deep breaths are relaxed, unrestricted, un-self-con-scious, and the resulting sound is expressive and honest. When we grow up, however, that natural vocal freedom submerges, receding into behavioral standards conditioned by society. In order to get along in the world, we can't hurl back our heads and cry anymore. Childhood relaxation gives way to adult tension, and self-consciousness teaches us to keep our voices down. We use the shallowest breath we minimally need to stay alive and talk. It takes a lot of extra energy to breathe deeply enough to enjoy our natural vocal freedom.

But what if we want to? What if we want to express ourselves musically, or dramatically, and get the most out of our voice? Where can we go to rediscover our own unique sound?

A new Voice program at the Peabody Prep might be a good start. Under the guidance of co-chairs Beth Hart and Helen Strine, the Prep offers a newly-unified approach to vocal study designed to benefit the enthusiastic amateur, as well as the professional-in-training. It's a cohesive program linking group classes in technique, styles, performance, with private voice instruction with a member of the Prep's fine Voice Faculty. And in a departure from the standard Prep academic calendar, the classes and workshops are being conducted in various sessions ranging from six or eight weeks to a full semester or year.

"Our new Voice program is designed to be more accessible to anyone interested in singing, whether simply for themselves, or perhaps a church choir, or to train for performing in musical theatre or opera." explains Beth Hart. "As many Prep students are professionals with bus^ schedules, we have designed shorter sessions focusing on specific areas of vocal training, small-scale classes within our larger department We want to train singers to be musicians as well, and be able to appreciate wider aspects of music. We want to give students a chance to explore the vast range of vocal literature in month-long seminars taught by faculty specialists. And then, in the Spring, we'll offer performance opportunities, so our students can work onstage in real terms."

The Prep's new Basic Vocal Chords course underpins the new department program. Designed to

cover the fundamentals of reading music and basic sight-singing, this class provides an essential function for voice students. "A private voice lesson for a student who can't read music may leave the student with one or two songs they can perform," says Helen Strine, "but without the ability to learn more music on one's own, it's hard to maintain interest in vocal study. And we don't like to take up private lesson time hastily sketching important musical theory that should be covered in depth in the classroom. We have high hopes for this class -we think it'll be an excellent experience to help singers learn a vital skill."

From there, a student may supplement their private study with the Prep's Vocal Arts Workshops (8 week courses in Breathing and Posture and Learning to Audition), Accents for Singers courses (Americah-no!, exploring Italian with Olga Sambuco, German for the tongue-tied, taught by Carol Cavey-Dowling, and Merci beaucoup - 1 do Faureft examining French song with Marjorie Jovanovic), and Vocal Literature courses (Chamber Duets and Art Song: the Schumanns in love) team-taught by Beth Hart and Randal Woodfield.

Vocal performance opportunities at the Prep follow two stylistic tracks. Carol Cavey-Dowling directs the Opera Workshop program, weekly classes culminating in two concerts (January and May); and Helen Strine and David Neal co-direct the Musical Theatre program, in which students rehearse and perform scenes throughout the Fall semester as a preliminary to the Spring Production Onstage (Rodgers and Hart's Babes in Arms), which will be performed in May at the Prep's Annapolis campus.

It is a new approach for the Prep's Voice department, with a pedagogi

cal unity and conceptual consistency reflected in each private lesson, class, and onstage activity. "We have a very nurturing faculty, who are top performers in their own right" says Hart, who graduated from Eastman, and performed for many years before entering the Peabody Conservatory for her graduate degree. "I began my teaching career later than many of my contemporaries. When I was performing full-time, I didn't think I'd ever be interested in teaching. My interest began when I came to Peabody, and it quickly evolved into a great passion. I began to notice singers with fine voices who were doing everything right - and yet there was still something missing from their music, it still didn't seem they were using their voice at its best When I started

looking for these missing elements, I believe I started thinking like a teacher. I fell in love with the vocal process, and not just my own vocal results. And when that happens, you want to teach. You want to communicate the process."

"And of course, through the process, we continue to learn ourselves." adds Strine, who studied at Juilliard and worked in New York theatre, opera, and television for twenty years, before coming to Baltimore to complete her Music Education Master's degree at Towson State. "Studying voice is so much more than simply learning to sing some songs. Our voice begins with our breath, which comes from the very center of our being. We are our own musical instrument, and when we find our own voice, and express ourselves openly and honestly through music, I believe we've found a wonderful celebration of being alive."

Beth Hart and Helen Strine consider themselves and their faculty colleagues very lucky to possess this passion, this love of the vocal process and the music it creates. And in the new Prep Voice program, students from all backgrounds may develop that passion within themselves, exploring the beautiful world of vocal music while seeking to reveal their own voice, uniquely personal and illustrative of their true being.

THE PEABODY PREPARATORY

YOUTH PROGRAM

An intensive, interdisciplinary program f ortalented dancers, instrumentalists, singers and composers

Featuring

• Interdisciplinary workshops masterclasses & field trips

• Multiple performance opportunities

• Chamber music & orchestra ^_?V

• Specialized guidance 1 Admission by audition only

1995-96 late auditions, September 5 For more information call (410) 727-3139 The Peabody Institute of the Johns Hopkins Universrty.The Preparatory

21 East Mount Vernon Place, Baltimore, Maryland 21202


MARYLAND DATELINE

Annapolis Symphony

A celebrated Peabody personage, Leon Fleisher, is featured on October 20/21 performing Ravel's Concerto in D Major for the Left Hand . The program also includes David Ott's Annapolis Overture, commissioned by the Symphony to celebrate its 35th season, at its Maryland Hall for the Creative Arts venue. The Annapolis Overture will be repeated on Oct. 22, at 7:30 p.m., in a special concert celebrating the 150th anniversary of the United States Naval Academy at the Academy's Alumni Hall. (See under USNA).

On Nov. 17-18, violinist Ruben Gonzales is the soloist for Beethoven's Violin Concerto in D. The Feb. 2-3 performances are entitled "Out of This World" and lead off with Hoist's The Planets followed by Tzimon Barto performing the Tchaikovsky Piano Concerto No. 1. Peabody's own Robert Macht (see separate story this issue on this versatile percussion and gamelan expert) in a highly percussive program. Beethoven's "Ode to Joy" Ninth Symphony concludes the season on April 19-20. The Annapolis Symphony also runs special programs for kids. Call 410/263-0907.

Annapolis Opera

The Annapolis Opera's main production will be Donizetti's The Elixir of Love on Nov. 10 and 12.

In addition, there will be the children's opera Bastien and Bastienne by Mozart, Sept. 16; and the following musicales: Songs from the Beggar's Opera, Sept. 17; "Opera and the Bible," Oct. 21; Beethoven Birthday celebration, Dec. 10 and 17. Call 410/267-8135.

Ballet Theat re of Annapolis

This fall the Ballet Theatre of Annapolis is bringing two very special guest stars, Cynthia Harvey and Wes Chapman, to Annapolis to help the professional dance company celebrate its 15th anniversary. The Gala Program is set for Friday and Saturday evening, Oct. 27 and 28, at Maryland Hall for the Creative Arts in Annapolis. Ms. Harvey and Mr. Chapman are both Principal Dancers with the American Ballet Theatre in New York. They will dance the leads in Act II of Swan Lake and perform the grand pas de deux from Tchaikovsky's Sleeping Beauty. The program also includes an original ballet Sapphire Romance, choreographed by BTA'a Artistic Director, Edward Stewart to Rachmaninov's Piano Concerto No. 2. A black-tie

Cynthia Harvey and Wes Chapman

(optional) "Gala Extravaganza" at Maryland Hall, located at Constitution and Greenfield Streets in Annapolis follows. Call 410/263-2909 __._, j ^

Candlelight Concert Society

A gala fundraiser will be held on Sunday, May 21, from 4 to 7 p.m. at The Spear Center of Columbia, MD (top floor of the Rouse Company Building). Music for dancing will be provided by the Last Chance Band with an additional performance by Oscar Brand. The event will also include a Silent Auction, Door Prizes and food provided by Local Restaurants and Caterers. For this and other events call 410/715-0034, or 301/596-6203

Columbia Pro Cantare

The Columbia Pro Cantare, directed by Frances Motyca Dawson will present a concert on Oct. 29 celebrating the founding of the Republic of Czechoslovakia in 1918. The program includes Zelenka' Miserere in C Minor, Mozart's Great Mass in C Minor, Dvorak's Biblical Songs, Op 99, and Suk's Meditation on the old Czech Chorale St. Wenceslas for String Orchestra, Op 35A, with four steller soloists and the MusicCrafters orchestra. A short concert of organ works played by Robert Gallagher of St. Matthew's Cathedral will precede the main concert at 2:30 p.m.

Sunday, Dec. 3 at 7:30 p.m. is the date for CPC's performance of Handel's Messiah in Columbia, featuring soloists Stephanie Marsh, Marianna Busching,

Grayson Hirst and Lester Lynch, with members of the Baltimore Symphony.

Pro Cantare journeys to Baltimore on March 31 to sing the Brahms Requiem as part of the Second Presbyter ian Concert Series, beginning at 3:30 p.m.

CPC's annual concert with brass will feature the Bowie Brass in a program of American and Renaissance music and the world premiere of Te Deum by Baltimore composer Elam Ray Sprenkle, for mixed chorus and brass . The Sprenkle composition is being commissioned by the Pro Cantare for this concert in Columbia. Curtain time is 8 p.m. on Saturday, May 11. Call 410/465-5744.

Concert Society a t Maryland

We always look forward to receiving this series brochure to find out what exotic ethnic groups are appearing this season and we are never disappointed. In addition to its stellar classical lineup, the series brings ensembles in from all over the world, from Turkey to Tibet. Dates and performers are: cellist Joshua Gordon, Oct. 8; Master Musicians of Jajouka in Morocco's Rif Mountains, Oct. 15; Ensemble Rebel, Nov. 4; Kronos Quartet, Nov. 11; Tafelmusik Baroque Orchestra on Nov. 18 ; Ensemble Project Ars Nova, Dec. 9; "Echoes of Africa", Feb. 2; Muir String Quartet performing the ent i re cycle of Beethoven Quar te t s on Feb. 10/11, March 9/10, April 27,28; Tallis Scholars, April 12; The Ann Trio, March 24; the Chamber Music Society of Lincoln Center, April 13; and Drums and Dances of Sri Lanka, May 4. Locations vary so call 301/403-4240

Maryland Symphony

Music Director Barry Tuckwell, the most notable french horn player in the country, has brought symphonic music to Western Maryland with his Maryland Symphony Orchestra concert series. The Oct. 14/15 date this season, entitled "Of Our Time," showcases the MSO's principal flute, clarinet, first and second bassoons, t rumpets and trombones in Stravinsky 's Octet. Hagerstown's own Barabra Irvine gives the world premiere of Charles Strouse's Concerto for Piano and Orchestra (Strouse is the composer of the musicals Annie and Bye Bye Birdie), while Carl Nielson provides the drama with his Fifth Symphony and an obsessive drum.

Other dates are: Nov. 18/19 with a "Childhood Needn't End"

theme in which British pianist John McCabe plays Dohnanyi's Variations on a Nursery Song with other classic works for the younger set.; Jan.20/21, "Immortal Beloveds," among them the Love/Death from Wagner's Tristan und Isolde; Feb. 17/18, featuring J im Lehrer of the MacNeil/Lehrer NewsHour in Copland's "Lincoln Portra i t . ; March 16/17, with a program of "heroic" music including Strauss' Ein Heldenleben. Call 301/797-4000.

The Rep Stage Company

Based at Howard Community College in Columbia, the Rep Stage Company offers the following plays this season: "The Flying Tongues," The Importance of Being Earnest by Oscar Wilde, Jeffrey, by Paul Rudnick, Broken Glass, by Arthur Miller, Oleanna, by David Mamet, and From the Mississippi Delta, by Endesha Holland. Call 410/964-4900.

United States Naval Academy

As noted above, the Annapolis Symphony Orchestra will be perforimg at the Academy on Oct. 22, at 7:30 p.m. in a special concert celebrating the 15oth anniversary of the United States Naval Academy. This is one of many celebratory happenings, which have included the opening of a magnificent "must-see" new Visitors Center at the Academy.

How the political scene has changed! "The Red Detachment" takes over the stage of the Bob Hope Performing Arts Center at Alumni Hall on the USNA campus on Thursday, Nov. 9, at 7:30 p.m. The Central Ballet Company of China presents this full length ballet under the auspices of Columbia Artists Management.

From the revolutionary fervor of China to Paris in the Gay Nineties, the USNA's Distinguished Visiting Artists Series continues on Jan. 23 with a return visit from the New York City Opera National Company with Puccini's ever-fresh tear-jerker La Traviata.The Moscow Virtuosi appear on Feb. 29, followed by "A Night at the Opera," in which the USNA Glee Club, directed by Peabody alum Barry Talley, joins forces with the Annapolis Symphony Orchestra on April 13. After their heartwrenching performance of an authent ic South Pacific last season, the USNA Glee Club lightens up in February with a sure-to-be-hilarious rendering of the musical A Funny Thing Happened on the Way to the Forum. Call 1-800-US4-NAVY or 410/268-6060.


Denes Agay—From Budapest to Baltimore Dr. and Mrs . Denes Agay,

r e s i d e n t s of t h e C h a r l e s t o w n C o m m u n i t y in C a t o n s v i l l e , Maryland, have established The Denes Agay Piano and Composit ion S c h o l a r s h i p F u n d a t t h e Peabody Conservatory of Music.

Dr . Agay is a composer of works for piano, orchestra, band, chorus and voice. He has held i m p o r t a n t pos t s w i th s e v e r a l music publishing firms as composer , ed i tor and e d u c a t i o n a l consultant. As an educator, he is noted for his "appealing, down-to -ea r th informal i ty and wit ." He has made a national reputation for his famous teaching collections, anthologies and texts for piano studies.

He has also written music for the movies. One of his ass ignments was writing music for the 1933 Czech film Ecstasy, starring Hedy L a m a r r . This fea tured a p rovoca t ive s equence of Miss L a m a r r r u n n i n g t h r o u g h t h e woods naked to Agay's music, so provocative the the movie was banned in the United States.

B u t t h e t h i r t i e s w e r e t h e years when Adolf Hitler came to power and the situation for European Jews went downhill from there on. Dr. Agay decided to try his luck in the States. The Hung a r i a n a u t h o r i t i e s , h o w e v e r , would not grant him an exit visa until he had served in the army. By the t ime he was discharged from the army it was 1938 and the clouds of war were gathering over Europe. The young composer finally got his exit visa and left for America.

Behind the establishment of the scholarship at Peabody is a colorful story. Dr. Agay was born into a Hungarian-Jewish family and grew up in the small town of K i s k u n f l e i g y h a z a , ( the n a m e means "a smal l t r ibe of half a congregation," he says), about 70 miles south of Budapest . Espec ia l ly t a l e n t e d m u s i c a l l y , he studied composition at the Liszt C o n s e r v a t o r y of B u d a p e s t , a l t hough his f a the r , scept ica l about the ability of musicians to make a living, insisted tha t he s imul taneous ly s tudy law. Dr Agay managed to graduate with highest honors from the Conservatory and also finish a doctorate in law at Budapest University.

The Budapest Conservatory during the early part of this cent u r y w a s one of t h e m o s t renowned in Europe , boas t ing such luminaries as Bela Bartok, who t augh t piano and lectured on folk mus ic , Zol tan Kodaly, who t a u g h t compos i t ion , a n d Erno Dohnanyi, director of the Conservatory and Conductor of the Budapest Philharmonic.

He recounted what happened next in an interview for Clavier m a g a z i n e , which we e x c e r p t here:

"My only t a n g i b l e a s s e t s when I arrived in New York," Dr. Agay told the interviewer, "were a briefcase full of compositions. At tha t time almost all the music publ i shers were located in one building in New York City, the Brill building. I decided to take the elevator to the top - the tenth floor- and visit every office floor by floor.

"On the eighth floor a man s t and ing in front of the receptionist's desk turned out to be the p res iden t of the company. He asked 'What do you have?'

"I proudly told him two piano sonatas , a woodwind quintet , a string quartet...

'Don't you have anything to sing?'

" 'Oh, yes. I have a beautiful Psalm. ' (One of my composition teachers said that anyone considering himself to be a composer should have a Psalm to his credi t . ) 'The 137 th P s a l m , At the Waters of Babylon, We Sat and Wept.'

"He gave me an exasperated look, t h r ew up his h a n d s , and said, 'Man, who wants to sit at the waters of Babylon and weep? Can't you write something happier, like, Roll out the Barrel, Let's Have a Barrel of Fun!'

"I continued down to the seventh floor. On the sixth, I had a sort of nibble. After showing a publ i sher wha t I had, he said, 'I'm sorry. This is too serious for us to use, but, can you arrange for the ukelele?'

"I said, 'I'm sorry, I can't.' "I went to the fifth floor, and

then to the fourth, and by th is time I was tired, hungry, and discouraged. I sat down on a bench in the corridor of the fourth floor, feeling like the children of Israel at the waters of Babylon. Then I saw a door of an office with bold, gold lettering on it. It said, Stas-ny Corporation - Home of the Greatest Country and Western Songs. I entered. After finishing my presentation to Mrs. Stasny, she sa id , 'You may be coming here at the right time. I'm about to publish a series of song books. Do you know cowboy songs?'

"I quickly answered yes. I had learned a lot coming down from the tenth to the fourth floor. When someone asks you whether you can do something , answer yes , and worry abou t i t l a t e r . The first book of songs to be publ ished were those of a popular s i n g i n g cowboy h e a r d on t h e rad io every day. Mrs . S t a s n y gave me one of t h e songs to arrange and asked me to bring it back the next day.

"The t i t l e of t h e song was , 'My Litt le 'Dobie Shack Out in the West.' I had not the slightest idea what a 'Dobie Shack meant, my little English/Hungarian dict i ona ry said no th ing abou t i t ,

a n d I d i d n ' t h a v e t i m e to research it. So I t r ied to make sense out of i t . Because t h e words were about how the cowboy loved his 'Dobie Shack, and missed it, I decided it m u s t be the name of a girl. I t also said something about friendly smoke coming out of it, but I dismissed my doubts, telling myself tha t I cou ldn ' t poss ibly know everything about American girls after only five days here. I treated the song as a very romant ic piece, with trills, chords, arpeggios, the works.

"When I p layed i t for Mrs . Stasny the next day, she frowned and said.'I don't know. This may be too good for the song.' However, the cowboy soon came, and he loved it. It was exactly what he wanted! So I had my first assignment."

From t h a t h i la r ious beginning, Dr. Agay bui l t himself a career. The story in Clavier continues:

" I w e n t i n t o t h e a r m y i n 1942 s e r v i n g in t h e Spec ia l Forces, where I organized jazz m u s i c i a n s i n t o d a n c e b a n d s , worked with an army radio chorus , and enter tained by playing p iano in a r m y h o s p i t a l w a r d s among other things."

(It was during that wartime service that he met his wife Mary, who had also joined the Army, as a physical therapist. Both were stationed at Tuscaloosa, Alabama. Mary Roberts came from a Presbyterian Virginia family with a strong military tradition, but, in spite of their different backgrounds, the marriage has lasted happily for 48 years. Tragically, the members of Dr. Agay's family in Hungary all perished in the Holocaust.)

"After the war, because I had experience with radio broadcasts, I met Mark Warnow, the conductor of the 'Hit Parade' and other shows . W h e n he w e n t to t h e W e s t C o a s t I b e c a m e t h e

conductor of 'Guest Star, ' one of his shows in New York. We had a different guest s tar each week: Bing Crosby, Pe r ry Como, t he Andrews Sisters , Laur i tz Mel-ch ior , Alec T e m p l t e t o n , a n d many others. I even conducted an early television show."

As Dr. Agay developed a reputat ion as a musical consultant and teacher, his path led back to publishing.

"I soon d iscovered w h e n I began teaching," he told Clavier," t ha t there was need for a good, large all-round collection of original piano pieces with good editing. So I put one together that I called Classics to Modern, and took i t to a p u b l i s h e r t h a t I thought would be interested.

"He said, 'What do you mean original? Yours?'

"I s a id , 'No. B e e t h o v e n ' s . Mozart's.'

"So h e s a id , ' P e r h a p s we could p u b l i s h t h i n g s l ike t h e "Moonlight" Sonata.'

" ' I t is r i g h t h e r e , ' a n d I showed him the page.

"He looked and exclaimed, 'Four sharps! We can't sell anyt h i n g w i t h more t h a n two sharps. '

"I persuaded h im t h a t four sharps were all right, and tha t a good t e a c h e r could t e a c h t h i s piece to a student.

"He finally said, 'O.K., b u t j u s t to be sure, let 's pu t gui tar chords over the staff.'

"I didn't want my urtext editions decorated with guitar chord symbols, so I left him, and it took another four years to persuade a pub l i she r of the need for, a n d interest in, good, original piano music. Easy Classics to Moderns was publ ished near ly 30 years ago and h a s sold more t h a n a million copies.

Now in his mid-eighties, Dr. Agay has not given up his musical career entirely. He is a leading l i g h t of t h e C h a r l e s t o w n Community's Concert Series held in the beautiful Our Lady of the Angels Chapel at Maiden Choice Lane, Catonsvil le. I t is hoped that future concerts in the series will feature winners of the Denes Agay scholarships a t Peabody. In the meantime, an October 1st concert in the Chapel will feature music "From Baroque to Broadway," all Denes Agay's composit ions . For in format ion on t h i s event, call 410/247-3400.

A complete archive of Denes Agay's published compositions, teaching collections, anthologies and theoretical writings are now in the Ar thur Friedheim Music Library at Peabody where they are available for reference.

© 1985, The Instrumentalist Pub. Co., reprinted by permission from Clavier. For a Clavier subscription write 200 Northfield Road, Northfield, Illinois (1 year, $18).


OPERA OPINIONS By William McCloskey

A furnace of a summer, but four local opera companies continued traditions old and new to present quality performances with young artists on the rise.

In Baltimore an endearing summer institution, the Young Vic, celebrated its 25th season with Gilbert & Sullivan's The Mikado. The Baltimore Opera Company, in a third-year bid to start a regular summer opera-in-the-park, presented Carlyle Floyd's Susannah at the Catonsville Lurman Woodland Theatre. BOC also mounted Bernstein's Trouble In Tahiti for free during the city's annual Summer Arts Fest. In the Washington area the Summer Opera Company at Catholic University marked its 17th season with productions of Verdi's Falstaff and Romberg's The Student Prince. And at Wolf Trap the resident company mounted Handel's Giulio Cesare as well as Cenerentola and Don Giovanni.

TheYoung Vic's annual Gilbert and Sullivan romp, managed by local lawyer Brian Goodman, plays to sold out houses for good reason. The orchestra is always crisp and the chorus enthusiastic. Sullivan's music and Gilbert's words have the quality to carry an evening even with reasonably-talented amateurs who can bring some bounce to the task, but it all flourishes with trained voices able to project. Over the years the quality of Young Vic soloists has been a mixed bag and I've held my brea th at the entrance of each character to see who's going to bring it off and who won't. During the company's recent seasons most of the major roles have been ably cast. Cyrus Ginwala conducted Mikado with lively authority. Outstanding was recent Peabody graduate Jennifer Davison as the schoolgirl-bride Yum Yum. She had just the right brightness (or call it that rarity, charm). Her clear, disciplined voice made the "Sun whose rays are all ablaze" aria the artistic peak of the show. Richard Crawley's Nanki-Poo had a pleasant earnestness as the heir to the throne disguised as a second trombone. Crawley is a student at Peabody. Michael Begley, as the Mikado himself, brought a jovially bloodthirsty, almost frightening, authority. The chorus, vocally fresh as always, was often too burdened with puppet-like "Japanese" business to let itself go, as it has with lusty and sometimes goofy abandon in the Young Vic's last three productions of Patience, Iolanthe, and Princess Ida.

The Baltimore Opera Company under Michael Harrison has extended itself in a positive direction with what it calls "Summer Aria." The Susannah generated

involvement despite a muggy heat wave. While the audience was heroic to come out (the company gave everyone fans), the t rue heroes were the cast members who performed vigorously while encased in heavy clothing. The outdoor venue gave the work an immediacy I hadn't felt in indoor productions. Conductor Ronald Gretz maintained musical tension. Director Roger Brunyate, (who also directs Peabody's Opera Program) made fluid, imaginative use of Thomas Donahue's solid rustic scenery.

The opera updates the Biblical (Apocrypha) story of Susannah and the Elders who peep unchastely at her bathing and combines it with Anatol France's novel Thais in which a holy man lusts for the fallen woman he tries to save. Church elders in a rural southern town, seeking a site for their revival meeting, see Susannah, a ripe, independent-minded backwoods girl, bathing nude. They and their self-righteous wives make the girl a target for "repentance." The t ravel ing preacher who conducts the revival, Olin Blitch, takes over Susannah's salvation with such heat that he ends up seducing her and negating his own self. It all might become just a noisy melodrama, but the music is probing and the main characters three-dimensional.

Blitch is a bravura but human part, arguably the plum male role in American opera. He progresses from public Bible thumper, to loner troubled by sexuality, to guilt-ridden wretch powerless to right the wrong he's created. In productions I've seen of

Susannah — there have been some 200 since its premiere in 1955, a remarkably high figure for a contemporary American opera — the Blitch is most remembered even though the title role is also rich and exacting. The NewYork City Opera built it 's landmark 1956 production around the great Norman Treigle's Blitch (Phyllis Curtin re-created her Susannah of the premiere), and Balt imore Opera's well-received revival of 1981 featured James Morris. Roy Stevens in the current BOC production gave a powerful portrayal in good voice, going from cock-of-the-walk assurance as he rumbled revivalist jargon, to tortured sin

ner. Clare Mueller's Susannah had the right buxom flirtatious innocence and independence, followed by brave defiance, to make her crisis moving. Both other principals, as well as those in smaller parts and chorus, also gave strong performances. Brad Cresswell made the heroine's brut ish brother sympathetic , as did Christopher Petrucelli as Little Bat, a half-sinister retarded boy attracted to Susannah.

Handel's 1724 opera Giulio~ Cesare is a work with ravishingly beautiful music, but it has so many long-winded eight-to-ten minute da capo arias (the third section a florid embellishment of the first) that it 's a mercy the seats in the Barn at Wolf Trap were comfortable. The only way to bring off such classic Baroque opera seria, for a modern audience not free to drink and visit during the longeurs, is with r ivet ing singers and imaginative staging. The Wolf Trap company delivered both. Conductor Patrick Summers kept Handel's orchestra luscious but stylish, and stage director James Robinson made brilliant use of shadows and simple business to induce visual variety in a one-unit set. The singers, all young — and by their quality and resumes headed upward — brought conviction, and technical excitement in florid passages, to roles that might have been static.

Share the Tradition...

Give to The Peabody Institute of The Johns Hopkins University Annual Fund Annual Fund gifts provide critical scholarship support for Peabody students. Did you know that over 80% of our students require some form of financial aid? Students like David Smooke, who graduated in June with a Master of Music in composition. He was one of ten young composers nationally to win a BMI Student Composer Award, winning the top prize.

A native of tos Angeles, David received his BA from the University of Pennsylvania in 1991. He has studied with Pulitzer Prize winners George Crumb and Richard Wernick, as well as with Peabody faculty members Robert Hall tewis and Morris Cotel.

David entered Peabody in 1993 with no financial assistance; He soon found the small savings earned working for a music publishing company running low. Without scholarship assistance, " I would have had to seriously reconsider remaining at Peabody," he says. David will cherish his time at the school, especially the lasting relationships he has made with the "many gifted musicians who make up the Peabody community."

Scholarship support is vital to our students. If you would like to help through a contribution to the Annual Fund, call the Peabody Development Office at 410/659-8144.


By Robert Macht

The Nusan ta ra Chamber Orchestra performed my piece, Kreasi Baru (New Creation) for Chamber Orchestra, Gamelan and Percussion ensemble in Jakarta, Indonesia on June 6, 1995. Gamelan is a t radi t ional musical ensemble from Java and Bali which consists mainly of various tuned gongs and metalophones (percussive bronze bars with tubes underneath).

For about a year, I had been trying to persuade my good friend and former band mate, from the Baltimore Improvisation Ensemble, Louis Stewart, to program my piece in Jakarta , where he had been invited to guest conduct. Louis received his doctorate in conducting at Peabody and is now teaching at the Berkeley School of Music and the Boston Conservatory. While Louis was at Peabody, he became friends with Yazeed Jamin who was studying composition and Piano.

Yazeed re turned home to Jakarta and founded the Nusantara Chamber Orchestra. Subsequently, Yazeed invited Louis to come work with his orchestra in Jakar ta , and I, like any other hungry, bottom-feeding composer, started nibbling at Louis to do my piece. He liked Kreasi Baru which sounds in sections like minimalism, new age, or neo romantic with the exotic Gamelan sounds placed as book ends at the beginning and the end. However he was concerned about the logistics of mounting such an ambitious work. Well, with the help of another band mate, cellist, and traveling companion, Tim Anderson, also of Peabody, who now teaches at the Baltimore School for the Arts, we twisted Louis's arm and he consented. We finally climbed aboard the first of five planes and spent the next 22 hours flying half way around the world to Indonesia.

Our first few days of rehearsal took place in Yogyakarta, a bustling city of about a million people, in central Java. Negotiating the streets of Yogja is a terrifying experience. Three-wheeled bicycle taxi cabs called becaks, horse drawn carriages, motorcycles, cars, minivans, buses, and 18-wheelers all compete for room on the same narrow roads. Gauging a safe moment to cross the street was truly a challenge. Luxury Hotels, bamboo huts, street fruit sellers, mosques and multinational computer companies all exist side by side in Yogya.

The student percussionists came from the Academy Musik Indonesia, equivalent to an American music conservatory. The piece requires ten percussionists who must play basically everything in a well stocked percussion room. After the rehearsal, I asked their teacher Pak Agus about

AN INDONESIAN PREMIERE when we could begin working with the Gamelan. His answer to this question was a big surprise. The percussionists were not going to play the Gamelan, ra ther , instructors from the Institute Seni Indonesia Yogyarkarta, would play those sections instead. I was quite upset and tried, in vain, to persuade the orchestral percussionists to learn the Gamelan.

But there was no budging these percussionists. Dressed in jeans and American T-shirts , these young men were not going to don the traditional dress of skirts and funny hats, sit on the floor and hit upside down pots, even if the ar t of playing and learning t radi t ional Gamelan repertory is uniquely Indonesian. More precisely, in this case, Javanese.

For at least a thousand years, Javanese musicians have been playing instruments very similar to those in Kreasi Baru. Big tuned bronze gongs, smaller pot gongs, suspended bars with tuned resonators and double headed barrel shaped drums are all depicted on stone reliefs on ancient Hindu temples in central Java. While there are several small Gamelan foundries there are no major manufacturers of Gamelan instruments. Gamelan production is a cottage industry. The tunings and the range of the instruments will vary from town to town and from maker to maker. As long as the tuning is close, within a half step, to the general understanding of the town main tuning systems, Slendro and Pelog, then the musicians can easily adjust from one set of instruments to another. Since all the modes are fundamentally pentatonic, there is plenty of space between octaves to allow for tuning variation without destroying the feeling of a particular mode. At the Institute, I was escorted to five different Slendro Gamelans and asked which one I wanted to use in the performance.

The Gamelan is associated with the past. One thinks of small rustic villages, ancient religious

rituals, or the Sultan's Palace. The Gamelan accompanies slow moving traditional dances or two-dimensional shadow puppets. An archaic language, Kawi, that is understood only by a handful of scholars, is frequently used as a text by the puppet master. The Hindu stories of the Ramayana and the Mahabrata are the focus of most of the songs and dances performed with the Gamelan, even though the present population of Java is 95% Moslem. One of the traditional ways to learn Gamelan, is for a young boy to sit on his father's lap and put his hands on top of his father's hands, while his dad plays.

In contrast , the symphony orchestra is associated with western culture. The west is linked with democracy, progress, science, prosperity, modernism and internationalism.

Thus the reluctance of the Indonesian orchestral percussionists to play in a Gamelan ensemble, is a microcosmic example of the great struggle taking place in Indonesia in general, between traditional lifestyles and values, and the ever encroaching modern world. From the percussionists point of view, to play in a Gamelan ensemble would be to turn back toward a relatively obscure art. In a word they would have been embarrassed.

The next day I met with the Gamelan specialists at the Institute Seni Indonesia Yogyakarta building, which looks pretty much like a standard college campus, except that it's set in the middle of some rice paddies and goats tend to wander around the grounds. As I entered the practice room, I was delighted to find that my piece was being rehearsed in a rough yet recognizable form.

After rehearsal we talked for a while. My conversational Indonesian is fairly comfortable. I had spent half a year in Yogja in 1981 studying the Gamelan. After graduating from Bennington College in composition, I wanted to learn more about a musical tradi

tion that was not based on equal temperament and European esthetics. One of my teachers at Bennington College, Gunnar Shonebeck, was an instrument builder. He suggested I go to Java.

I learned that all the Game-laners were teachers at the Institute. They were ethnomusicol-igists , dance ins t ructors , and Gamelan specialists . Many of them had traveled abroad, either on tour or doing research.

The absence of unions afforded us several long days of rehearsals, after which the entire orchestra relocated to Jakar ta . Cellos, basses, large brass, a huge collection of percussion instruments , a harp , and an ent i re Gamelan were all loaded on to the back of an open truck for the eight hour drive to the capital city. It's not unusual to see a family of four r iding piggy back on a motor scooter; daddy driving, mom holding on behind him, older sister squeezed onto daddy's lap, and younger brother precariously balanced on the handle bars, so fitt ing an orchestra 's worth of ins t ruments in a medium size truck was "no problem".

There are 16 million people living in the metropolitan area of Jakarta. Sky scrapers abound and brand new super highways crisscross the city. One of the new towers is taller than New York's former Pan Am Building, but there are still no sewers. Rem Koolhaas, the well known Dutch architect, was recently quoted in the New York Times questioning the wisdom of building such huge towers in a still emerging nation. He wondered, what is the point of "raising chickens on the 40th floor".

The concert took place in the Golden Ballroom at the Jakarta Hilton, since the city lacks a hall suitable for a symphony orchestra. Press coverage was heavy and many government officials and Ambassadors attended the concert, including the American ambassador, Robert L. Barry, and his wife. Tim and I played with the orchestra. One of my composition teachers taught me to write myself a part whenever possible, because it's the only sure way of getting paid.

We escaped up into the mountains for a few days after the concert. There's nothing nicer then the eternal spring climate of high altitude areas in tropical countries. On our mountain walks we saw volcanoes, waterfalls, glorious views and even a bat cave. While we stood at the cave's entrance, the bats exited in a mad flurry, which was, according to our guide, a sign of good luck.

He must have been r ight , because after 10 planes and 44 hours in the air round trip not only did I make all my connections and not loose my luggage, but every plane was on time.


cBreve/

ALUMNI

Many thanks to FRED BALMAGES (BM'69) for planning Peabody's very successful second biennial golf tournament. He is also to be congratul a t e d for be ing n a m e d M a r y l a n d Computer Educator of the Year by the Maryland Instructional Computer Coordinators Association. Fred, who has taught music in Baltimore Coun ty schools s ince g r a d u a t i n g from Peabody, was ins t rumental in setting up computer labs for elementary school children to utilize. While striving to make these children computer literate, Fred is showing them the wonders of the computer age. He downloaded pic tures t a k e n by the spacesh ip Discovery s e n t back to NASA onto his computer. He also gives seminars to teachers and principals on the diagnosis and repair of computer equipment and continues to perform on the t rumpet and the piano.

G u i t a r i s t P H I L I P CANDELARIA (MM'80), whose second compact disc Progression was given a four-s tar rating by Classical Music Magazine, will soon release a new disc t i t led Spanish Passion. Philip is on the faculty of Cambrian College and Huntington University in Ontario, Canada and is commit ted to involving young people with music. He runs a Suzuk i g u i t a r p rog ram and gives school concerts throughout Canada.

MARK CHENG (MM'94) has entered the doctoral program a t Columbia where he will pursue degrees in theory and composition.

S T E V E N C H I C U R E L (MM'80) recent ly p re sen ted a workshop in monologue and song preparat ion at t h e We l sh Col lege of M u s i c in Cardiff. At the "Giving Voice " conference sponsored by the Centre for Performance Research in Wales, he was the keynote clinician, sat on several international panels and gave a pape r , "Es t i l l Voicecraft a n d t h e Geography of Voice". Following his Welsh tour Dr. Chicurel presented a paper "Three-Tier Voice Training for Musical Theatre: A Non-Traditional Approach" at the First World Voice Congress in Oporto, Portugal.

LARRY CIONE (MM'78) composed and recorded the music for a silent film called Flickers t h a t was produced by Robbie Chafitz. Filmed in Frederick, it had its premiere at the Weinberg Center for the Arts, which was once a silent movie theatre.

Pianist CHRISTINA DAHL (MM'89), who has been teaching at Lawrence Universi ty in Appleton, Wisconsin, h a s j o i n e d t h e facul ty a t SONY, Stoney Brook. This past season at Lawrence she played the Rachmaninoff t h i r d w i t h g u e s t c o n d u c t o r Robert Spano and accompanied baritone George Shirley in a recital.

DIANE DURAFFOURG (AD'92) has won the position of 2nd violin with the Chicago Lyric Opera Orchestra.

P r e p a l u m n a J U D I T H GORDON w a s p i a n o so lo i s t w i t h t h e pops Esp lanade Orches t ra in Boston in June . Judy, who is know as a collaborat ing pianist with Yo-Yo Ma and other ar t i s t s , received an excellent review in the Boston Globe.

PATRICIA G R E E N (AD'94) s a n g t h r e e per formances of the Boulez Marteau sans maltre in Canada this summer. Her performance for Vancouver New Music was b roadcas t nationally in Canada. This Fall she travels to England for two months to part icipate in the French Art Song course a t the Bri t ten-Pears School, a n d s ing conce r t s a t F e s t i v a l de Liege, Belgium and on the Continuum series in London. In December she will sing with faculty members STANLEY CORNETT and J O H N SHIRLEY-QUIRK on the T h e a t r e Chamber Players Series in Washington.

T h i s s u m m e r , J E D GAYLIN (DMA'95) conducted the orchestral works a t the El Callejon del Ruido internat ional festival of Contemporary Music in Mexico. In September J e d r e s u m e s h i s d u t i e s as Music Director of the Hopkins Symphony Orchestra on the Homewood Campus a n d of t h e Loudon S y m p h o n y in Leesburg, Virginia.

TRENT JOHNSON (GP'91) a gradua te of both Peabody and Ju i l l a rd , wi l l a p p e a r i n r e c i t a l a t F O C U S / O R G A N '95 , a pro jec t of H a r f o r d C o u n t y P i a n o T e a c h e r s Association as the evening event of t h e o r g a n w o r k s h o p s e r i e s . F O C U S / O R G A N '95 h a s b e e n p l a n n e d to e n c o u r a g e c a p a b l e p i a n i s t s to become i n t e r e s t e d in organ playing. Trent is the Director of Music and Arts of the First United Methodist Church in Westfield, New Jersey. As a active organ recitalist, Mr . J o h n s o n f r e q u e n t l y p l a y s r ec i t a l s in t h e major churches in New York City, Washington, D . C , Baltimore and Northern New Jersey. Recently, he recorded the first CD recording of David Sampson's "The Myster ies Remain" with Ray Mase of the American Brass Quintet.

M I C H E L L E LACOURSE (AD'87) has jus t completed her first year of teaching viola and chamber music at the University of Massachuset ts a t Amherst.

B E N J A M I N MATIS (BM'94) is studying in Jerusalem this year as a

requirement of the five-year program at the Cantor's Institute of the Jewish Theological Seminary of America. The reminder of his studies a t this Conservative Seminary will be done in New City. Upon completion of his work he wil l r ece ive a M a s t e r ' s Degree in Sacred Music and a diploma of Chazzan.

L A W R E N C E M A N C H E S T E R (BM'94) is two/thirds through a Master's in jazz performance and composition at New York University. He is working at Power Station Recording S tud ios , w h e r e he was h i r ed l a s t April following his internship there.

CHARLES N O B L E (GPD'95) h a s been appointed Assis tant Principal Viola in t h e O r e g o n S y m p h o n y Orchestra in Portland.

Trumpeter and Conservatory gradua te ALEXANDER P O P E NORRIS was one of 20 promising young jazz musicians chosen this year by song s ty l i s t Be t ty C a r t e r for h e r J a z z Ahead project. The project culminates in a performance at the Majestic Theater in Brooklyn in New York City. Carter was so happy with the big band tune tha t Norris wrote for Jazz Ahead, that it became the concert ' s opening and closing theme . N o r r i s , who s t u d i e d w i t h W a y n e Cameron at Peabody, appeared in a photo of this year's group in the magazine section of the New York Times. Norris has also performed with Gary Bartz, the Mingus Big Band and the Toshiko Akiyoshi Jazz Orchestra.

JUDITH PANNILL (BM'81) and her h u s b a n d S teven Raiford a re kep t b u s y w i t h t h e i r s i n g i n g c a r e e r s . They are the proud paren t s of six-month-old Abigail Katherine.

C o m p o s e r VIVIAN A D E L B E R G RUDOW (MM'79) h a s rece ived a 1995 ASCAP Award. She has won th i s pres t ig ious award every year since 1987. Rudow, who lectured to students and composers at the Mues-t r a In ternacional De Musica Elec-troacoustica in Puerto Rico this summer, has had 26 of her compositions performed in a one year period in France, Holland, Malaysia and the United States.

C H R I S T I N E R U T T (BM'75) was m a r r i e d on J u n e 24 to R o b e r t Schmitz. Chris , in addition to her church and temple jobs, serves as recording secretary for the Peabody A l u m n i S t e e r i n g C o m m i t t e e a n d runs her own accounting firm.

HEATHER SCHENCK (BM'89) is in her third year of a doctoral program in chemis t ry a t t h e Un ive r s i ty of Wisconsin in Madison.

CARL SCHROEDER (MM'69) is the chairman of a series of organ recitals s p o n s o r e d by t h e L a n c a s t e r , PA chap t e r of t h e Amer ican Guild of Organists . Previous concerts have inc luded t h e works of Widor and Vierne and this season will include The "Other" French Romantic Tradi

tion on November 12 and the French Post-Romantic Organists on March 24. The concerts are given on a 1962 Moe l l e r o r g a n a t S t S t e p h e n ' s Church in Lancaster, PA where Carl is the organist/choirmaster.

MURRY SIDLIN (MM'68), who is Resident Conductor of the Oregon Symphony and Artistic Director of the San Diego Symphony Summer Session, was the keynote speaker at the American Symphony Orchestra League ' s N a t i o n a l Conference in June . In November he will give a lecture demonst ra t ion on teaching the developing conductor at the College Music Society National Conference. Murry just completed his 17th summer as director of the Aspen Festival's conducting studies program.

G u i t a r i s t R O B E R T T R E N T (DMA'95) performed this summer at the Internat ional Schubert Symposium at Westminster Choir College p laying Schuber t songs original ly written for voice and guitar. He also gave a lecture-recital with fortepi-anis t Pamela Swenson about early 19th-century gui tar and fortepiano duos. Dr. trent is Director of Guitar and Lute Studies at Radford University in Virginia and will perform this season with the Kandinsky Trio.

C o m p o s e r M I C H A E L TWOMEY (DMA'93) had a performance of his work Winter Whispered the Trinity at the University of South Carolina Conductor 's Ins t i tu te . It was conducted by BRIAN STONE (MM'95). Michael has had a number of works performed th is year including one d a n c e d by t h e M a r t h a G r a h a m Dance Company.

LESLEY VALDES (BM'68) has been awarded a National Arts Journalism Program Fellowship at the Henry W. Grady College of Journa l i sm, University of Georgia in Athens . The fellowship offers a $30,000 stipend and tuition support. Lesley, a music critic for the Philadelphia Inquirer for the last eight years , will go on sabbatical to at tend this ten-month program that is geared towards significantly improving how a r t s and c u l t u r e a r e covered in A m e r i c a n media.

J U N WANG (GPD'95), who served a s A s s i s t a n t C o n d u c t o r of t h e P e a b o d y Conce r t O r c h e s t r a , h a s been appointed conductor of the university Orchestra at the University of Wisconsin-Oshkosk. In addition to his conducting duties he will teach several music courses.

YA-HUI WANG (MM'92) returned to Balt imore th is summer to conduct the Baltimore Symphony Orchestra in a p r o g r a m t i t l e d " R o m a n t i c Works/Fireworks". This spring she returned to her hometown to conduct the Singapore Symphony Orchestra. Ms. Wang, who is the Music Director of the Omaha Area Youth Orchestra in Nebraska, was awarded the Hideo Sai to Award and Honorable Men-t ion\Fourth Prize in the 1994 Tokyo Internat ional Conducting Competition.



Jack Carton - Peabody's Lightning Rod

By Elam Ray Sprenkle

We who knew him and loved h im called h im Jack , t he "we" being those who remember the full man and not the reduced figure of recent years. He bore his i l lness well , did J a c k C a r t o n , fighting it every inch of the way. A physician said tha t he should have been dead seven years ago. Jack had intended, as always, to teach this coming fall. The schedule listed two courses and a possible third. It was not meant to be. Cancer killed him during the g r e a t h e a t of ' 9 5 . He w a s 61 years of age.

I n h i s p r i m e , J o h n H e n r y C a r t o n w a s one of P e a b o d y ' s lightning rods, a walking burst of energy that could outlast a local tavern's curfew yet make it fresh for a morning seminar. His company was most likely the same on both occasions, for education with the man did not end when the door shut in the classroom. Learning was not a compartmentalized thing with Jack. Nor was life, and frankly, one suspects the two were so in ter twined in h i s m i n d , i t p r o b a b l y n e v e r occurred to him to be other than what he was. Jack Carton lived with his students and they with him and the group of them were a g r ea t Dionysian energy t h a t I

blew through Peabody for more than two decades.

There was something grand and t hea t r i c a l abou t Jack . He could t r a n s p o r t you to o t h e r times and other places. He could make you believe in other people. He was sympathetic. He was also enthusiasm and ecstasy. He was p a s s i o n a t e in t h e w a y t h e Kennedy generation understood. Born before the baby-boomers, he was yet one of them, and as the sixties unfolded, he matured as they did. He had the advantage of a New E n g l a n d e d u c a t i o n which gave him perspective, and he had the advantage of participating in the avant-garde which gave him vitality and the two he gave to all who sought his comp a n y w h i c h in t h o s e d a y s a t Peabody were many.

R i c h a r d F r a n k o G o l d m a n had brought Jack to Peabody to run Peabody's Education departmen t and Car ton blew in wi th v o l u m e s of t e x t s , a l l c r y i n g "reform" and all ignored by the establishment which soon rocked and sti l l rocks wi th upheava l . Carton's taste ran to musical theory w h i c h w a s l i k e w i s e e m b r o i l e d in e x p e r i m e n t a l modes, and he proved a natural , his classes shortly the most popular in the school. But Jack was never one who sought popularity. He could make you angry and he

made many angry . Author i ty , for him, was an irritant.

J a c k C a r t o n w a s a restless man, a t t imes a turbulent , brooding m a n capable of immense tasks. In the early 70's he and his wife r ed id a town-house on St. Pau l S t ree t up in Charles Village. The place was so big tha t he invited nearly the whole Peabody to a New Year's party. In the late 70's he and his sons b u i l t a h o u s e out in t h e horse country nor th of the city ( tha t is correct, J a c k bui l t t he house). Here he planted flowers when his hips gave out and here he mastered the computer. Let it be known and ce lebra ted t h a t J o h n H e n r y C a r t o n w a s Peabody's first hacker. I r i s h m u -sic was a n o t h e r of h i s s tud ies a l o n g w i t h e x p l o r a t i o n s i n t o aspects of the realm now known as e t h n o m u s i c o l o g y b u t t h e n k n o w n as "folk stuff." C a r t o n knew his folk stuff as he did his "classical" stuff and he could fuse the two together to make a point if t h e need a r o s e as h e could move effortlessly in to "Broadway" and, if you please, "not-so-legitimate" theatre. When I first met him, he championed Lasso and Victoria. In these later years he loved Chopin most of all. He would talk of Chopin's chord progress ions as if they were gifts from God.

"Do not go gently into t h a t good n i g h t , " J a c k r e m i n i s c e d when his fa ther died. And yet, t h e l ine does no t fit our own man. Jack was, to be sure, different than his father, described to me as an almost mythic American type, the one who seems to come out of the earth itself. Some of th i s might characterize Jack as wel l , espec ia l ly h i s rough-edged qualities, but he, lest we forget, was an art ist and art is ts must be rough-edged if they are to be t r u e to themselves . J ack leaves us a family of children and grandchildren and he leaves us studies in Irish music and studies in Chopin. He leaves us two or more generations of Peabody s tuden t s who will never forget his cavalry-charge manner or his sense of car i tas . He takes with h im, does J o h n Henry Car ton , his panache.

This portrait of Jack Carton was written by Elam Ray Sprenkle after reading through the Faure Requiem with group of Jack's colleagues, former students, friends and relatives in preparation for his memorial service the next morning. Ray was Jack's graduate assistant during his first year of graduate study at Peabody in the early 70's.

Alia Breve Continued from page 45

STUDENTS

Pianist RALITZA PATCHEVA, a student of Julian Martin, appeared as soloist with the Williamsburg Symphonia in Williamsburg, Virginia. She performed the Beethoven Piano Concerto No.4 in G Major, and was praised by music critic, John Shulson, who said, "Patcheva's performance provided a total interpretation, one that brought to the surface the composition's full range of musical emotions, from delicacy to poetry to power."

EUN-JUNG SHON, a Graduate Performance Diploma student of Ellen Mack, gave a solo piano recital as part of the Performing Arts of Asia Festival in New York City. Held in the Bruno Walter Auditorium in Lincoln Center, the festival was presented by the New York Public Library for the Performing Arts. Eun-Jung Shon presented music by Korean composers Chung-Gil Kim, Young-Jo Lee, Cheong-Mook Kim, and Jung-Soo Kim. She also recently appeared twice as soloist with the Prague Chamber Orchestra, and gave three consecutive performances with the Venice String Quartet. For the 1995-1996 season, Eun-Jung Shon will appear as soloist with the Bratislava Symphony Orchestra, the Slovak Chamber Orchestra, and the Pusan Philharmonic.

The Walden School Launches Young Composers

This summer Stephen Coxe successfully completed his first year as president of the 23-year-old Walden School in southern New Hampshire and then moved north to the Mount Washington Valley in August where he is the founder and co-director of the Tamworth Chamber Music Festival. Steve, who attended Walden as a student for five summers and has served on its faculty for eight years, replaced Pamela Layman Quist. The school was founded in 1972 by Peabody alumni David Hogan, Pamela Layman Quist and Lynn Taylor Hebden. Steve returns to Baltimore in the fall to teach composition at the Prep while completing his doctorate at Yale.

The Walden School has helped launch the careers of several young composers, including this year's BMI Award winner Laura Kolker, who has attended Walden for the past four summers. Kolker was the tenth Walden student to receive a BMI award. Many Peabody faculty have moderated composers' forums a t Walden, whose picturesque location at the foot of Mount Monadnock beside Dublin Lake make it a favorite summer spot for music and outdoor fun. For information on the Walden School, call (east coast) 410/679-2062 or (west coast) 415-431-2642.

Sept/Oct 1995

All events begin at 8:00 P.M. in the Miriam A. Friedberg Concert Hall and tickets are $14 ($7 for students with I.D., senior citizens, and members of The Johns Hopkins Alumni Association unless noted otherwise.

WEDNESDAY, SEPTEMBER 13 Jul ianne Baird, Soprano Ronn McFarlane, Lute

Sylvia Adalman Artist Recital Series Funded in part by a grant from the Maryland State Arts Council.

SATURDAY, SEPTEMBER 30 Peabody Symphony Orchestra Hajime Teri Murai, Music Director Victor Danchenko, Violin Faculty Artist Barber: Essay No. 2, Op. 17 Shostakovich: Violin Concerto No. 1, Op. 77 Sibelius: Symphony No. 5 in E-flat, Op. 82

Ruth Blaustein Rosenberg Series

FRIDAY, OCTOBER 6, 7:30 P.M. Peabody Concert Orchestra Hajime Teri Murai, Music Director Richard Field, Viola Faculty Artist Peter Maxwell Davies: An Orkney Wedding with Sunrise Thea Musgrave: Viola Concerto Tchaikovsky: Symphony No. 4 in f minor, Op. 36

SATURDAY, OCTOBER 7, 7:30 P.M. Peabody Camerata Gene Young, Conductor

Anton von Webern: Five Pieces for Orchestra, Op. 10 Alban Berg: Sonata for Piano, Op.l Arnold Schoenberg: Nachtwandler Richard Hoffmann: Decadanse Lou Harrison: Praise for the Beauty of Hummingbirds Joseph Schwantner: Music of Amber

Music for the Close of the Century North Hall FREE ADMISSION

WEDNESDAY, OCTOBER 11, 7:30 P.M. Peabody Wind Ensemble Harlan Parker, Conductor Sergei Prokofiev: March, Op. 99 Mark Camphouse: A Movement for Rosa Charles Ives/Schuman/Rhoads: Variations on "America" Frank Ticheli: Postcard David Bedford: The Sun Paints Rainbows on the Vast Waves H. Owen Reed: La Fiesta Mexicana

FREE ADMISSION

Peabody News 47

Peabody ffcmcert Calendar WEDNESDAY, OCTOBER 18, 6:30 P.M. Computer Music Consort & Computer Music Department Geoffrey Wright, Director Max Mathews 1 Maureen Chowning /Dexter Morrill

Lecture: The Beginnings of Computer Music at Bell Labs Recital: Live Performance of Computer Music with the Radio-Baton and Conductor Program

Music for the Close of the Century Leakin Hall FREE ADMISSION

WEDNESDAY, OCTOBER 18 Peabody Trio Violaine Melancon, Violin Thomas Kraines, Cello Seth Knopp, Piano

with Guest Artists Alison Potter, Flute Gary Louie, Saxophone

Dvorak: Bagatelles for 3 Strings and Harmonium William Albright: Rustles of Spring, 1994 /Baltimore Premiere Ravel: Trio

Sylvia Adalman Artist Recital Series

SATURDAY, OCTOBER 21 Peabody Symphony Orchestra Hajime Teri Murai, Music Director Orlando Cotto, Marimba Winner of the Yale Gordon Concerto Competition

Stravinsky: Symphony in Three Movements Ney Rosauro: Concerto for Marimba and Strings R. Strauss: Till Eulenspiegel, Op. 28

Ruth Blaustein Rosenberg Series

WEDNESDAY, OCTOBER 25, 7:30 P.M. Opera Workshop

North Hall FREE ADMISSION

SATURDAY, OCTOBER 28, 7:30 p.m. Peabody Singers Edward Polochick, Conductor

8:00 P.M. Pane l Discuss ion Conservatory Faculty

8:45-9:45 P.M, Phyll is Bryn-Julson, Soprano Music for Voice Alone by Charles Boone, Luciano Berio, Gyorgy Kurtag, Georges Aperghis,Richard Felciano and Cathy Berberian

Music for the Close of the Century

Sylvia Adalman Artist Recital Series

WEDNESDAY, NOVEMBER 1 Computer Music Consort & Computer Music Department Geoffrey Wright, Director, present Music Mobile Contemporary Music Chamber Ensemble & Electronics Martin Matalon, Artistic Director Steven Schick, Percussion Solo Concert includes: Roger Reynolds: Percussion Concerto 1Baltimore Premiere Pierre Boulez: Piano Solo/ U.S. Premiere Martin Matalon: Scenes from Metropolis

Music for the Close of the Century FREE ADMISSION

SATURDAY, NOVEMBER 4, 7:30 P.M. Peabody Concert Orchestra Hajime Teri Murai, Music Director

Michael Torke: Verdant Music Haydn: Symphony No. 44 in e minor, "Trauer" Shostakovich: Symphony No. 1 in F, Op. 10

WEDNESDAY, NOVEMBER 8, 7:30 P.M. Preparatory Faculty Recital Elizabeth Hart, Patricia Springer, Corey McVicar, Charles Covington, and Larry Williams

Leakin Hall FREE ADMISSION

SATURDAY, NOVEMBER 11, 7:30 P.M. Peabody Camerata Gene Young, Conductor

Luigi Nono: Polifonica-Monodia-Ritmica Luigi Dallapiccola: Piccola Musica Notturna Luigi Berio: Concertino Gene Young: Post Mahleria Karl-Birger Blomdahl: Concerto Grosso

Music for the Close of the Century

North Hall FREE ADMISSION

THURSDAY, NOVEMBER 16, 7:30 P.M. FRIDAY, NOVEMBER 17, 7:30 PM. SATURDAY, NOVEMBER 18, 7:30 P.M. SUNDAY, NOVEMBER 19, 3 P.M. Peabody Opera Theatre Johann Strauss: Die Fledermaus

John Lehmeyer, Stage Director Hajime Teri Murai, Music Director Peabody Symphony Orchestra

Funded in part by a grant from . the Maryland State Arts Council. $20, $10 for Students and Seniors

TUESDAY, NOVEMBER 28 Phyllis Bryn-Julson, Soprano Jonathan Haas, Percussion and Conductor William Moersch, Percussion Ruth Inglefield, Harp Peabody Percussion Ensemble

Jacob Druckman: Animus II Pierre Boulez: Improvisations sur Mallarme Luciano Berio: Circles

Music for the Close of the Century Sylvia Adalman Artist Recital Series

WEDNESDAY, NOVEMBER 29, 7:30 P.M. Peabody Wind Ensemble Harlan Parker, Conductor

Charles Gounod: Petite Symphonie Ernst Toch: Spiel for Wind Orchestra CarlOrff: DerMond Carl Orff/Krance: Carmina Burana

FREE ADMISSION

FRIDAY, DECEMBER 1 Peabody Renaissance Ensemble Mark Cudek, Director

FREE ADMISSION

SUNDAY, DECEMBER 3, 7:30 P.M. Peabody Jazz Ensemble David Bunn, Director

Leakin Hall FREE ADMISSION

SATURDAY, DECEMBER 9 Peabody Singers Peabody Chorus Peabody Concert Orchestra Edward Polochick, Associate Conductor

Poulenc: Gloria Tchaikovsky: Selections from The Nutcracker

Sponsored by the Douglas S. Goodwin Fund at the Peabody Conservatory

THURSDAY, DECEMBER 14, 7:30 P.M. FRIDAY, DECEMBER 15, 7:30 P.M. Preparatory Winter Dance Carol Bartlett, Artistic Director Roudolf Kharatian, Guest Choreographer

A new Ballet based on the flight of the seagull.

PEABODY BOX OFFICE 410/659-8124

PARKING Parking is available on concert nights for $2.50 in the Peabody Garage with entrance in the 600 block of St. Paul Street at the southwest corner of St. Paul and Centre Streets.


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