UMD School of Music Presents: DAS LIED VON DER ERDE arr. Arnold Schoenberg for chamber orchestra Graduate Fellowship Chamber Ensembles MICHELLE RICE, mezzo-soprano PATRICK COOK, tenor DISTRICT5 EXCELSA QUARTET EDWARD MACLARY, conductor Thursday, May 14, 2015 . 8PM Joseph & Alma Gildenhorn Recital Hall Program 38 GUSTAV MAHLER Das Lied von der Erde I. Das Trinklied vom Jammer der Erde II. Der Einsame im Herbst III. Von der Jugend IV. Von der Schönheit V. Der Trunkene im Frühling VI. Der Abschied DAS LIED VON DER ERDE Texts by Hans Bethge, 1907 I. Das Trinklied vom Jammer der Erde I. The Drinking Song of Earth’s Misery Schon winkt der Wein im gold’nen Pokale, doch trinkt noch nicht, erst sing’ ich euch ein Lied! Das Lied vom Kummer soll auflachend in die Seele euch klingen. Wenn der Kummer naht, liegen wüst die Gärten der Seele, welkt hin und stirbt die Freude, der Gesang. Dunkel ist das Leben, ist der Tod. The wine is already beckoning in the golden goblet, but do not drink yet — first, I will sing you a song! The Song of Sorrow shall resound laughingly in your soul. When sorrow draws near, the gardens of the soul lie desolate; joy and song wilt away and die. Dark is life, dark is death. Herr dieses Hauses! Dein Keller birgt die Fülle des goldenen Weins! Hier, diese Laute nenn’ ich mein! Die Laute schlagen und die Gläser leeren, das sind die Dinge, die zusammen passen. Ein voller Becher Weins zur rechten Zeit ist mehr wert als alle Reiche dieser Erde! Dunkel ist das Leben, ist der Tod! Lord of this house! Your cellar holds an abundance of golden wine! Here, this lute I call my own! Strumming on the lute and emptying glasses — these are the things that go together. A full glass of wine at the proper moment is worth more than all the kingdoms of the world! Dark is life, [dark] is death. Das Firmament blaut ewig, und die Erde wird lange fest steh’n und aufblüh’n im Lenz. Du aber, Mensch, wie lang lebst denn du? Nicht hundert Jahre darfst du dich ergötzen an all dem morschen Tande dieser Erde! The heavens are forever blue and the earth Will stand firm for a long time and bloom in spring. But you, Man, how long will you live then? Not a hundred years are you allowed to enjoy in all the rotten triviality of this earth! Seht dort hinab! Im Mondschein auf den Gräbern hockt eine wild-gespenstiche Gestalt. Ein Aff ’ ist’s! Hört ihr, wie sein Heulen hinausgellt in den süßen Duft des Lebens! Look down there! In the moonlight, on the graves crouches a wild, ghostly figure — It is an ape! Hear how its howls shrill out into the sweet fragrance of life! Jetzt nehmt den Wein! Jetzt ist es Zeit, Genossen! Leert eure gold’nen Becher zu Grund! Dunkel ist das Leben, ist der Tod! Now take the wine! Now is the time, comrades! Empty the golden goblet to the bottom! Dark is life, [dark] is death! 39 II. Der Einsame im Herbst II. The Lonely One in Autumn Herbstnebel wallen bläulich überm See; vom Reif bezogen stehen alle Gräser; man meint, ein Künstler habe Staub von Jade über die feinen Blüten ausgestreut. Blue autumn mists undulate over the lake; the grass stands stiff with frost; One might think an artist had strewn jade dust over all the fine blossoms. Der süße Duft der Blumen ist verflogen; ein kalter Wind beugt ihre Stengel nieder. Bald werden die verwelkten, gold’nen Blätter der Lotosblüten auf dem Wasser zieh’n. The sweet fragrance of flowers has flown away; a cold wind forces them to bow their stems low. Soon the wilted golden leaves of lotus flowers will drift upon the water. Mein Herz ist müde. Meine kleine Lampe erlosch mit Knistern, es gemahnt mich an den Schlaf. Ich komm’ zu dir, traute Ruhestätte! Ja, gib mir Ruh’, ich hab’ Erquickung not! My heart is weary. My small lamp has gone out with a sputter; it urges me to sleep. I am coming to you, familiar place of rest! Yes, give me rest — I have need of comfort. Ich weine viel in meinen Einsamkeiten. Der Herbst in meinem Herzen währt zu lange. Sonne der Liebe, willst du nie mehr scheinen, um meine bittern Tränen mild aufzutrocknen? I weep much in my solitudes. The autumn in my heart is lasting too long. Sun of love, will you never shine again, gently to dry my bitter tears? III. Von der Jugend III. Of Youth Mitten in dem kleinen Teiche steht ein Pavillon aus grünem und aus weißem Porzellan. In the middle of the small pond stands a pavilion of green and white porcelain. Wie der Rücken eines Tigers wölbt die Brücke sich aus Jade zu dem Pavillon hinüber. Like the back of a tiger the jade bridge arches across toward the pavilion. In dem Häuschen sitzen Freunde, schön gekleidet, trinken, plaudern, manche schreiben Verse nieder. In the small house sit friends, finely dressed; they drink, chat, and some write down verses. Ihre seidnen Ärmel gleiten rückwärts, ihre seidnen Mützen hocken lustig tief im Nacken. Their silk sleeves slide back, their silk caps perch jauntily far back on their necks. Auf des kleinen Teiches stiller Wasserfläche zeigt sich alles wunderlich im Spiegelbilde. On the small pond’s still surface, all things appear strangely mirrored. Alles auf dem Kopfe stehend in dem Pavillon aus grünem und aus weißem Porzellan; Everything is standing on its head in the pavilion of green and white porcelain. Wie ein Halbmond steht die Brücke, umgekehrt der Bogen. Freunde, schön gekleidet, trinken, plaudern. The bridge looks like a half-moon, its arch inverted. Friends, finely dressed are drinking and chatting. 40 IV. Von der Schönheit IV. Of Beauty Junge Mädchen pflücken Blumen, pflücken Lotosblumen an dem Uferrande. Zwischen Büschen und Blättern sitzen sie, sammeln Blüten in den Schoß und rufen sich einander Neckereien zu. Young maidens pick flowers, pick lotus flowers at the water’s edge. Among bushes and leaves they sit, Gathering blossoms in their laps and calling to one another teasingly. Gold’ne Sonne webt um die Gestalten, spiegelt sie im blanken Wasser wider. Sonne spiegelt ihre schlanken Glieder, ihre süßen augen wider, und der Zephir hebt mit Schmeichelkosen das Gewebe ihrer Ärmel auf, führt den Zauber ihrer Wohlgerüche durch die Luft. Golden sunlight weaves about the figures, mirroring them in the shiny water. The sun reflects their slender limbs, their sweet eyes, and the zephyr lifts caressingly the fabric of their sleeves, wafting the magic of their lovely fragrance through the air. O sieh, was tummeln sich für schöne Knaben dort an dem Uferrand auf mut’gen Roßen weithin glänzend wie die Sonnenstrahlen; schon zwischen dem Geäst der grünen Weiden trabt das jungfrische Volk einher! Das Roß des einen wiehert fröhlich auf, und scheut, und saust dahin, über Blumen, Gräser wanken hin die Hufe, sie zerstampfen jäh im Sturm die hingesunk’nen Blüten, hei! wie flattern im Taumel seinen Mähnen, dampfen heiß die Nüstern! Gold’ne Sonne webt um die Gestalten, spiegelt sie im blanken Wasser wieder. Oh see what handsome young men disport themselves there along the shore on their lively horses, glittering out into the distance like sunbeams; already among the branches of the green willows, the fresh-faced young men are approaching at a trot! The horse of one whinnies merrily and shies and rushes away; over flowers and grass, its hooves fly, trampling fallen blossoms in its stormy flight. Ah, how wildly its mane flutters in its frenzy, how hotly its nostrils steam! The golden sun weaves about the figures, mirroring them in the shiny water. Und die schönste von den Jungfrau’n sendet lange Blicke ihm der Sehnsucht nach. Ihre stolze Haltung ist nur Verstellung. In dem Funkeln ihrer großen Augen, in dem Dunkel ihres heißen Blicks schwingt klagend noch die Erregung ihres Herzens nach. And the fairest of the maidens sends long, yearning glances after him. Her proud demeanor is mere pretense. In the flash of her large eyes, in the darkness of her ardent gaze, the agitation of her heart lingers, lamenting. 41 V. Der Trunkene im Frühling V. The Drunken Man in Spring Wenn nur ein Traum das Leben ist, warum denn Müh und Plag’? Ich trinke, bis ich nicht mehr kann, den ganzen lieben Tag! If life is only a dream, why then the misery and torment? I drink until I can drink no more, the whole, dear day! Und wenn ich nicht mehr trinken kann, weil Kehl’ und Seele voll, so tauml’ ich bis zur meiner Tür und schlafe wundervoll! And when I can drink no more, because my stomach and soul are full, I stagger to my door and sleep very well! Was hör’ ich beim Erwachen? Horch! Ein Vogel singt im Baum. Ich frag’ ihn ob schon Frühling sei, mir ist als wie im Traum. What do I hear when I awaken? Listen! A bird singing in the tree. I ask him whether it is already spring — it’s like a dream to me. Der Vogel zwitschert: Ja! Der Lenz ist da, sei kommen über Nacht! Aus tiefstem Schauen lauscht’ ich auf, der Vogel singt und lacht! The bird twitters, “Yes! Spring is here, it has come overnight!” With deep concentration I listen, and the bird sings and laughs! Ich fülle mir den Becher neu und leer’ ihn bis zum Grund und singe, bis der Mond erglänzt am schwarzen Firmament! I fill my goblet afresh and drain it to the bottom and sing, until the moon shines in the dark firmament! Und wenn ich nicht mehr singen kann, so schlaf ’ ich wieder ein. Was geht mich denn der Frühling an!? Laßt mich betrunken sein! And when I can sing no more, I fall asleep again, for what is springtime to me? — Let me be drunk! 42 VI. Der Abschied VI. The Farewell Die Sonne scheidet hinter dem Gebirge. In allen Tälern steigt der Abend nieder Mit seinen Schatten, die voll Kühlung sind. O sieh! Wie eine Silberbarke schwebt Der Mond am blauen Himmelssee herauf. Ich spüre eines feinen Windes Wehn Hinter den dunklen Fichten! The sun departs behind the mountains. Into all the valleys, evening descends with its cooling shadows. O look! Like a silver boat, the moon floats on the blue sky-lake above. I feel the fine wind wafting behind the dark spruces. Der Bach singt voller Wohllaut durch das Dunkel. Die Blumen blassen im Dämmerschein. Die Erde atmet voll von Ruh und Schlaf, Alle Sehnsucht will nun träumen. Die müden Menschen gehn heimwärts, Um im Schlaf vergeßnes Glück Und Jugend neu zu lernen! Die Vögel hocken still in ihren Zweigen. Die Welt schläft ein! The brook sings loudly through the darkness. The flowers stand out palely in the twilight. The earth breathes, full of peace and sleep, and all yearning wishes to dream now. Weary men go home, to learn in sleep forgotten happiness and youth. The birds crouch silently in their branches. The world is asleep! Es wehet kühl im Schatten meiner Fichten. Ich stehe hier und harre meines Freundes; Ich harre sein zum letzten Lebewohl. Ich sehne mich, o Freund, an deiner Seite Die Schönheit dieses Abends zu genießen. Wo bleibst du? Du läßt mich lang allein! Ich wandle auf und nieder mit meiner Laute Auf Wegen, die vom weichen Grase schwellen. O Schönheit! O ewigen Liebens - Lebenstrunkne Welt! It blows coolly in the shadows of my spruce. I stand here and wait for my friend; I wait to bid him a last farewell. I yearn, my friend, at your side to enjoy the beauty of this evening. Where do you tarry? You leave me alone for so long! I wander up and down with my lute, on paths swelling with soft grass. O beauty! O eternal love — eternal, life-intoxicated world? Er stieg vom Pferd und reichte ihm den Trunk Des Abschieds dar. Er fragte ihn, wohin Er führe und auch warum es müßte sein. Er sprach, seine Stimme war umflort: Du, mein Freund, Mir war auf dieser Welt das Glück nicht hold! Wohin ich geh? Ich geh, ich wandre in die Berge. Ich suche Ruhe für mein einsam Herz. Ich wandle nach der Heimat, meiner Stätte. Ich werde niemals in die Ferne schweifen. Still ist mein Herz und harret seiner Stunde! He dismounted and handed him the drink of parting. He asked him where he would go, and also why it must be. He spoke, his voice was choked: My friend, on this earth, fortune has not been kind to me! Where do I go? I will go, wander in the mountains. I seek peace for my lonely heart. I wander to find my homeland, my home. I will never stray to foreign lands. Quiet is my heart, waiting for its hour! Die liebe Erde allüberall Blüht auf im Lenz und grünt Aufs neu! Allüberall und ewig Blauen licht die Fernen! Ewig... ewig... The dear earth everywhere blooms in spring and grows green afresh! Everywhere and eternally, distant places grow blue and bright! Eternally... eternally... 43 About the Program “Instead of using many words, perhaps I should do best simply to say: I believe firmly and steadfastly that Gustav Mahler was one of the greatest men and artists. To Gustav Mahler’s work! Into its pure air! Here is the faith that raises us on high. Here is someone believing, in his immortal works, in an eternal soul. I do not know whether our soul is immortal, but I believe it. What I do know, though, is that men, the highest men, such as Beethoven and Mahler, will believe in an immortal soul until the power of belief has endowed humanity with one. Meanwhile, we have immortal works. And we shall know how to guard them.” — Arnold Schönberg (1912) Tonight’s concert presents one of Mahler’s greatest works in a chamber orchestra arrangement similar to those made for use by Schönberg’s “Society for Private Musical Performances,” played by an ensemble whose interpretations owe much to those of Willem Mengelberg, the celebrated conductor of the Amsterdam Concertgebouw Orchestra and Mahler’s most fervent advocate for more than a quarter century. According to Mengelberg, and according to the longstanding tradition of which he was among the last exponents, “the performer must help the creator.” In our age, in which the science of musicology has elevated the Urtext edition to a position of veneration, it is sobering to realize that embracing Mengelberg’s statement that “faithfulness to the notes is a recent invention” must be taken, at least for the repertoire with which he was most closely associated, as perhaps the most “authentic” stance possible to adopt, and one that illustrates Mahler’s own dictum: “What is most important in music is not to be found in the printed notes.” Three life-altering events struck Gustav Mahler during the middle months of 1907. His tenure as director of the Vienna Court Opera, long marked by tension, finally came to an end with the conclusion of the 1906–7 season. Mahler appears to have been simply unwilling to battle further, as he explained to Bruno Walter as he tilted a chair back 44 on its legs: “You see, this is what they are doing to me: If I wanted to remain seated, all I would have to do is to lean back firmly and I could hold my place. But I am not offering any resistance, and so I shall finally slide off.” Departure from the prestigious Vienna post offered Mahler ostensibly more time to compose, and would allow him to move his base of operations to New York in December. But in July, while the Mahlers were installed in their summer villa on the Wörthersee at Maiernigg, in a curious real-life echo of the Kindertotenlieder (finished in 1904), their elder daughter Maria, not yet five, died of scarlet fever. Mahler was devastated, and both his wife Alma and his mother collapsed in grief as the child’s coffin was carried away. The local doctor was summoned. Alma related what occurred next: “Mahler, thinking to make a cheerful diversion and distract us from our gloom, said: ‘Come along, doctor, wouldn’t you like to examine me too?’ The doctor did so. He got up looking very serious. Mahler was lying on the sofa and Dr. Blumenthal had been kneeling beside him. ‘Well, you’ve no cause to be proud of a heart like that,’ he said in the cheery tone doctors often adopt after diagnosing a fatal disease. This verdict marked the beginning of the end for Mahler . . .” The composition of Das Lied von der Erde, which took place over the following summer, must thus be viewed in light of these three blows. In the German translations published by Hans Bethge (actually paraphrases from previously published French and German interpretations of Chinese poems) as Die chinesische Flöte (“The Chinese Flute”), Mahler found something that captured his innermost fears — fear not only of death, but that his creative life, which depended so heavily on the inspiration that came to him during his habitual, but now-restricted mountain hikes, would be over. Mahler considerably altered Bethge’s poems to express more closely his own feelings. The resulting masterpiece, he told Bruno Walter, is “the most personal thing I ever wrote.” In the immediate aftermath of World War I (November 1918), Arnold Schönberg established his brilliant but short-lived Society for Private Musical Performances (Verein für musikalische Privataufführungen), dedicated to performing contemporary music at the highest possible level. In the course of the 113 concerts given by the Verein over the next three years, 154 works were performed, of which fully two-thirds were presented more than once. The vast majority of these pieces were either originally scored for solo piano, piano plus voice or one other instrument, or small ensemble, or were played in reductions for one or two pianos. Only a small group of works were heard in chamber orchestra guise. Some, including Das Lied von der Erde, were designated for performance at Verein concerts which, due to the insolvency and dissolution of the organization, never materialized. To aid the Society’s arrangers, Schönberg made a brief sketch of the procedure to be followed in making the transcriptions, in which many of the wind and most of the brass parts were taken by the piano or the harmonium, that foot-powered reed organ whose slightly wheezy voice can be heard clearly from time to time when it is not hiding in camouflage as an extension of the woodwind group. The resulting sound is in many ways peculiarly “symphonic” in texture, and can momentarily even make the listener forget that he or she is hearing an arrangement — surely a complement to the transcriber’s art. In a prospectus for the 1921 Verein season, Anton Webern is credited with the arrangement of Das Lied von der Erde. However, no record of his transcription has yet been found, if it ever existed. All that remains from that time are Schönberg’s notes as to his thoughts on its transcription, entered, as was his practice, into a copy of the full score of the work. These extend, however, only slightly past the middle of the first song, the Trinklied vom Jammer der Erde. The German composer/conductor Rainer Riehn was sufficiently intrigued by this torso to undertake to complete it, following the procedures outlined in Schönberg’s sketch. — Kenneth Slowik 45 About the Artists Described by the Washington Post as “imposing and promising,” tenor Patrick Cook is earning praise for his performances across the country in venues including The Kennedy Center and Carnegie Hall. Cook will debut with the Baltimore Symphony Orchestra in June under the baton of Marin Alsop in a concert production of Bernstein’s Candide. Recent operatic roles include Don Jose, Bacchus, Luigi, Idomeneo and Don Ottavio with companies throughout the Mid-Atlantic region. Cook appears regularly as a recitalist, chamber musician and concert soloist performing with the U.S. Naval Academy Glee Club, Annapolis Symphony Orchestra, Metropolitan Philharmonic, The Washington Chorus and the DC Wagner Society. Cook debuted at Carnegie Hall in Scenes from Dog Days by David T. Little as part of Osvaldo Golijov and Dawn Upshaw’s Composing Song Workshop. In 2011, Cook performed for President Obama’s Town Hall meeting in College Park, Maryland. Cook is a 2011 and 2010 DC District Winner of the Metropolitan Opera National Council Auditions. He can be heard on the American Symphony Orchestra’s recording of Meyerbeer’s Les Huguenots as Bois-Rosé and Premiere Moine. A past participant of the Wolf Trap Opera Studio and a graduate of the Baltimore School for the Arts, Cook holds advanced degrees from the University of Maryland, Bard Conservatory and The Juilliard School. Cook sings in the Washington National Opera Chorus and serves on the faculty of Northern Virginia Community College. For more information, please visit www.PatrickCookTenor.com. With “tones of pure gold” (Washington Post), superb musicianship and powerful dramatic presence, Michelle Rice is a sought-after artist in standard repertoire and modern music. Recent performances include Jade Boucher in a new chamber version of Heggie’s Dead Man Walking for Opera Parallèle, the Mother (Amahl and the Night Visitors) for Monterey Symphony and Liv- 46 ermore Valley Opera, and Emilia (Otello) and Antonia’s Mother (Les contes d’Hoffmann) for West Bay Opera. Career highlights include Mrs. Grose (Turn of the Screw) with Lorin Maazel at The Kennedy Center, the Verdi Requiem with James Morris and Sharon Sweet, creating the role of Clara (Converey, Clara) for the Maryland Opera Studio and a “magnificent” performance of Argento’s From the Diary of Virginia Woolf given for the composer. She has also performed with Opera San José, Festival Opera, Fresno Grand Opera, Summer Opera, Opera Vivente, Annapolis Opera and Opera Cleveland among others, in roles such as Suzuki (Madama Butterfly), Flora Bervoix (La traviata), Lola (Cavalleria rusticana), Savitri (Holst, Savitri), Amneris (Aïda, cover), Carmen (La tragédie de Carmen) and the Witch and the Mother (Hansel and Gretel). In concert she has performed with Washington Concert Opera, MidAmerica Productions at Carnegie Hall, Prince George’s Philharmonic, Symphony of Southeast Texas, Symphony of Northwestern Arkansas, Billings Symphony Orchestra and the San Francisco Choral Society among others, in works including Mozart’s Krönungsmesse, Elgar’s The Music Makers, the Duruflé Requiem, Mendelssohn’s Elijah, Beethoven’s Ninth Symphony, Händel’s Messiah and Pergolesi’s Stabat Mater. Rice is a graduate of the Maryland Opera Studio. District5 presents unfamiliar works to new audiences through innovative and virtuosic programming. In their 2013–14 season they gave the U.S. premiere of Karlheinz Stockhausen’s Rotary Wind Quintet and the DC area premiere of Harrison Birtwistle’s five distances for five instruments. In their continual effort to expand the breadth of wind quintet repertoire, District5 has also premiered new transcriptions, including Brahms’ Piano Quartet No. 1 with pianist Mayron Tsong, as well as works by Liszt, Holst and Gabrieli. Recently, District5 has collaborated with The Barns at Wolf Trap, the Berlin Philharmonic Wind Quintet About the Artists (Continued) and the LeDroit Chamber Players. District5 has been presented by multiple concert series including Common Tone, the Washington Arts Club and the Riversdale Mansion Chamber Music Society. District5 was selected as a finalist in the Savvy Musician Chamber Music Competition and will compete this summer in South Carolina. First Prize winners of “The Provincie Limburg Prijs” along with the “EMCY Artprize” at the Charles Hennen 26th International Chamber Music Competition for Strings in The Netherlands, Excelsa Quartet is now the Graduate Fellowship String Quartet at the University of Maryland in College Park, Maryland. Excelsa Quartet was formed in January 2009 at the New England Conservatory of Music in Boston, Massachusetts. They continued their studies at the Konservatorium Dreilinden in Luzern, Switzerland, and in the Professional Quartet Training Program under the tutelage of the Alban Berg Quartet at the Hochschule für Musik und Tanz Köln in Germany. In 2011, Excelsa Quartet won the ‘Prix du Jury “Jeunes Musiciens” et du Public’ at the Illzach 17th International Chamber Music Competition in France. As regular participants in the Britten-Pears Young Artists Programme (Aldeburgh, UK) since 2009, the Quartet has worked with Isabel Charisius (Alban Berg Quartet), Ilan Gronich (Israel Quartet), Sebastian Hamann, the Pavel Haas Quartet and Quatuor Mosaiques. They have also attended the St. Lawrence String Quartet Seminar in Stanford, California (2014) and the McGill International String Quartet Academy in Montreal, Quebec (2014). For the 2014–15 season, Excelsa Quartet was granted a Fall residency at the St. Lawrence String Quartet’s “Emerging String Quartet Program” at Stanford University, giving them a unique opportunity to perform in various concert and community settings in Stanford, California. The Quartet has had the honor of working with members of the Guarneri Quartet, Left Bank Quartet, St. Lawrence String Quartet, Cleveland Quartet, James Stern, André Roy, Roger Tapping (Juilliard Quartet), David Takeno, Lucy Chapman and world-renowned conductor Benjamin Zander. They have also collaborated with the Miami String Quartet and with composers John Heiss and Wolfgang Rihm. For more information, visit www.ExcelsaQuartet.com. Edward Maclary became the Director of Choral Activities at the University of Maryland School of Music in 2000 and was named Professor of Music in 2006. Under his direction the UMD Choirs have toured throughout Europe and North America and have performed on multiple occasions by invitation for the American Choral Directors Association, the National Collegiate Choral Organization and the National Association for Music Education. In 2014 he began his appointment as the Director of the Masterclass in Choral and Orchestral Conducting at the Oregon Bach Festival. Edward Maclary is the conductor of the UMD Chamber Singers, the most elite of the School of Music’s six choral ensembles. The UMD Chamber Singers have won prizes in top international competitions and are now regarded as one of the leading choral ensembles in the United States. In 2011 the group was awarded the Premier Prix for Mixed Choirs and the Prix Ronsard for Renaissance performance at the 40th Florilège Vocal de Tours and Maclary was honored as the competition’s “Chef de Choeur.” In August 2014 he led the UMD Chamber Singers in performances at the World Symposium on Choral Music in Seoul, South Korea. Since 2003 the UMD Choirs have maintained an annual collaborative relationship with the National Symphony Orchestra at The John F. Kennedy Center for the Performing Arts, receiving praise from critics and audiences alike in works such as the Mozart Requiem, Bach’s Mass in B Minor and St. Matthew Passion, Mendelssohn’s Elijah and Haydn’s Creation. In 2013 the UMD 47 Concert Choir debuted with the Baltimore Symphony Orchestra in acclaimed performances of the Britten War Requiem, led by Music Director Marin Alsop. In 2014 the UMD Concert Choir returned to the NSO for Bach Cantatas with Helmuth Rilling and in 2015 to the BSO for the Mozart C Minor Mass with Masaaki Suzuki. Upcoming engagements include Messiah with the NSO in December 2015 and the Brahms Requiem with the BSO in March 2016. Edward Maclary has also served as the chorus master for conductors such as Robert Shaw, Iván Fischer, Christoph Eschenbach, Robert Spano and Matthew Halls. Regarded as an outstanding clinician and educator, Edward Maclary maintains an active schedule as guest conductor for choral festivals and honors choirs throughout the United States and around the world. He has served as the artist in residence for the Eastman School of Music Summer Choral Institute and also served as a guest teacher for conducting masterclasses at the Indiana University School of Music, Temple University, the University of Wisconsin and Westminster Choir College. As the director of the choral conducting program at the University of Maryland, he has built a nationally recognized course of study and graduates from the program are now in leadership positions at colleges and universities throughout the country. Edward Maclary received his doctoral degree in conducting with honors from the Indiana University School of Music after having been awarded a graduate degree in musicology from Boston University. In the following years he worked closely on many projects with Robert Shaw and also studied and collaborated with Helmuth Rilling, Margaret Hillis and Robert Page. Personnel Edward Maclary, conductor Michelle Rice, mezzo-soprano Patrick Cook, tenor DISTRICT5 Laura Kaufman, flute/piccolo Alison Lowell, oboe/English horn Nina Elhassan, clarinet/Eb/bass clarinet Eddie Rumzis, bassoon Laura Brisson, horn 48 EXCELSA QUARTET Laura Colgate, violin Audrey Wright, violin Valentina Shohdy, viola Kacy Clopton, cello Robert Gibson, bass Bobby Schroyer and Laurin Friedland, percussion Alexei Ulitin, piano Zsolt Balogh, celesta/harmonium
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