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candler
concert series
Chick Corea and Béla Fleck
2 0 1 5 / 2 0 1 6
schwartz center for performing arts
10.3.15 at 8:00 p.m.
Conrad Tao, piano
10.16.15 at 8:00 p.m.
An Evening with Bassists Christian McBride and Edgar Meyer
10.30.15 at 8:00 p.m.
David Finckel, cello; Wu Han, piano; and Philip Setzer, violin
11.7.15 at 8:00 p.m.
Julian Bliss Septet:
A Tribute to Benny Goodman
candler
concert series
2.6.16 at 8:00 p.m.
The Knights with Gil Shaham, violin
2.20.16 at 8:00 p.m.
Nathan Gunn, baritone
3.18.16 at 8:00 p.m.
arts.emory.edu • 404.727.5050
natha n G u n n , b a r i t o n e
J ul i e g u n n , p i a n o
Friday, March 18, 8:00 p.m.
Page left blank intentionally to represent
inside front cover of program.
flora glenn
candler
concert series
2015–2016 season
nathan Gunn, baritone
julie gunn, piano
friday, march 18, 2016, 8:00 p.m.
This program is made possible by a generous gift from the late
Flora Glenn Candler, a friend and patron of music at Emory University.
Emerson Concert Hall
Schwartz Center for Performing Arts
p r ogr am
Dichterliebe, op. 48 Robert Schumann
(1810–1856)
1. Im wunderschönen Monat Mai
2. Aus meinen Tränen spriessen
3. Die Rose, die Lilie, die Taube, die Sonne
4. Wenn ich in deine Augen seh‘
5. Ich will meine Seele tauchen
6. Im Rhein, im heiligen Strome
7. Ich grolle nicht, und wenn das Herz auch bricht
8. Und wüßten‘s die Blumen, die kleinen
9. Das ist ein Flöten und Geigen
10. Hör‘ ich das Liedchen klingen
11. Ein Jüngling liebt ein Mädchen
12. Am leuchtenden Sommermorgen
13. Ich hab‘ im Traum geweinet
14. Allnächtlich im Traume seh‘ ich dich
15. Aus alten Märchen winkt es
16. Die alten, bösen Lieder
Everything Happens to Me
Matt Denis
(1914–2002)
“They Say It’s Wonderful” from Annie Get Your Gun
Irving Berlin
(1888–1989)
Polka Dots and Moonbeams
Jimmy Van Heusen
(1913–1990)
“Soliloquy” from Carousel
Richard Rodgers
(1902–1979)
—In te r mis s io n —
2
p r ogr am
“This Is the Life” from Love Life
Kurt Weill
(1900–1950)
Selections from Blue Mountain Ballads
Paul Bowles
Lonesome Man(1910–1999)
Cabin
Sugar in the Cane
Selections from Cabaret Songs Black Max
Fur (Murray the Furrier)
Over the Piano
William Bolcom
(b. 1938)
Don’t Fence Me In
Cole Porter
(1891–1964)
Home on the Range
Traditional
Ragtime Cowboy Joe
Lewis F. Muir
(1884–1915)
Maurice Abrahams
(1883–1931)
“If Ever I Would Leave You” from Camelot
Program is subject to change.
Exclusive Management:
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3
Frederick Loewe
(1901–1988)
p r ogr am In tr odu ction
As with many of Nathan Gunn’s programs, this evening’s recital
juxtaposes traditional art song such as the Dichterliebe, with classic
tunes of the American experience—Cole Porter’s “This Is the Life,”
tunes that Frank Sinatra made famous: Everything Happens to Me and
Polka Dots and Moonbeams, and the famous Broadway showstoppers
Carousel’s “Soliloquy” and “If Ever I Would Leave You” from Camelot.
From Lieder to Vaudeville to Broadway, sit back and enjoy an evening
about life and the human experience.
p r o g r a m not e s
Dichterliebe, op. 48
For Robert Schumann, 1840 was the “year of song.” Anticipating his
marriage to Clara Wieck in a decidedly lyrical state of mind, Schumann
focused his pent-up emotion on vocal music, composing nearly 140
songs in that year, most of them in the anxious months before August,
when the marriage permission suit he and Clara had filed against her
father was decided in their favor. Concurrently, Schumann was beginning
to recognize that the larger musical forms (symphony, sonata, string
quartet) were not developing in the direction he had expected, and he
was prepared to look elsewhere for the full flowering of romantic music.
This “elsewhere” became the Lied. Furthermore, Schumann recognized
that the piano could play a highly significant role in vocal music—not
mere accompaniment, but an equal partner.
Schumann composed Dichterliebe (Poet’s Love) in the space of about
a week in May. In these sixteen songs, Schumann perfectly captures the
psychological atmosphere of each poem. The piano writing is of great
importance in defining the mood of each song. In Schumann, these
moods are often carried to their greatest expressive heights in the piano
postludes. All but two of the Dichterliebe songs end with postludes, some
nearly half the length of the song itself. Another remarkable aspect of
these songs is the vocal declamation. The music, with few exceptions, is
perfectly welded to the words of the Heine’s text with regard to meter,
observation of punctuation, and emphasis on the right word or syllable.
In the opening song, beautiful weather, flowers, and birds are all
part of the poet’s blissful reverie on love. But this love affair is doomed
from the beginning, and the cycle traces a progression of regret,
pleading, reconciliation, and forgiveness. By the final song, the poet is
so disconsolate that he prepares to drown his love, his sorrows, and his
dreams in a coffin in the deep sea.
4
Blue Mountain Ballads
Paul Bowles spent the last fifty-two years of his life as an ex-patriot
living in Tangier, Morocco. There he had a second successful career as a
literary writer. His achievements as a writer were greatly overshadowed
by his earlier successes as a composer. By the time Bowles left the
United States in the 1940s, he had gained a reputation as a respected
composer of chamber music and as a collaborator in the theater. He
and his friend Tennessee Williams worked together frequently, and
Bowles composed incidental music for several of Williams’s plays.
Bowles used four unrelated Williams poems for Blue Mountain Ballads,
composing a set of songs that suggest the atmosphere and culture of
the playwright’s rural South. In 1993, looking back on his distinguished
career in music, Bowles told an interviewer, “As a composer I find that I
don’t like ‘big’ music. . . . Today, there isn’t much room for little pieces,
I suppose, but that doesn’t make them any less valuable.” In fact, the
four Blue Mountain Ballads have proven their value repeatedly. Bowles’s
sure hand in composing music for the theater adapted itself to creating
characteristic imagery for a set of “little pieces” that have claimed a
large place in the singer’s repertoire.
Selections from Cabaret Songs
William Bolcom’s career is storied: famed pianist, Pulitzer Prize–winning
composer, ragtime revivalist, and acclaimed professor at the University
of Michigan. Arnold Weinstein, a self-proclaimed “theater poet,” won
acclaim as a lyricist for famed musicals such as Metamorphoses. Brought
together by Darius Milhaud, the duo had a prolific partnership from
1964 until Weinstein’s death in 2005. Their collaborations included
famed operas such as McTeague, A Wedding, and others. Among these
works were four sets of cabaret songs written between the 1970s and
1990s. These songs musically reflect the German cabaret lineage from
Kurt Weill and Bertolt Brecht to Arnold Schoenberg, and each song
unpredictably blends the sophisticated with the unrefined. Over the
Piano, the first song of the cabaret cycle, has a charming melodic vocal
line over a rubato accompaniment, and it journeys between lyricism and
parlando. This intriguing tale has an ironic end. Fur is very personable,
and Song of Black Max is one of the most popular and well-known of
Bolcom’s creations. It has much sinister charm.
—Program notes by Debra Joyal.
5
t e x ts and t r ans lations
Dichterliebe, op. 48
A Poet’s Love
1. Im wunderschönen Monat Mai Im wunderschönen Monat Mai,
Als alle Knospen sprangen, Da ist in meinem Herzen
Die Liebe aufgegangen.
In the wonderfully beautiful month of May
In the wonderfully beautiful month of May
When all the buds are bursting open,
There, from my own heart,
Bursts forth my own love.
Im wunderschönen Monat Mai,
In the wonderfully beautiful month of May
Als alle Vögel sangen, When all the birds are singing,
Da hab‘ ich ihr gestandenSo have I confessed to her
Mein Sehnen und Verlangen.
My yearning and my longing.
2. Aus meinen Tränen spriessen From my tears sprout forth
Aus meinen Tränen sprießenFrom my tears sprout forth
Viel blühende Blumen hervor,
Many blooming flowers,
Und meine Seufzer werdenAnd my sighing become joined with
Ein Nachtigallenchor.
The chorus of the nightingales.
Und wenn du mich lieb hast, Kindchen,And if you love me, dear child,
Schenk‘ ich dir die Blumen all‘,
I will send you so many flowers;
Und vor deinem Fenster soll klingenAnd before your window should sound
Das Lied der Nachtigall.
The song of the nightingale.
3. Die Rose, die Lilie, The rose, the lily,
die Taube, die Sonne the dove, the sun
Die Rose, die Lilie, die Taube, die Sonne, The rose, the lily, the dove, the sun,
Die liebt‘ ich einst alle in Liebeswonne.
I loved them all once in love’s bliss.
Ich lieb‘ sie nicht mehr, ich liebe alleine
I love them no more, I love only
Die Kleine, die Feine, die Reine, die Eine; The Small, the Fine, the Pure, the One;
Sie selber, aller Liebe Wonne,She herself—the source of all love—
Ist Rose und Lilie und Taube und Sonne. Is the rose, lily, dove, and sun
Ich liebe alleine I love only that which is small,
Die Kleine, die Feine, die Reine, die Eine.Fine, pure, rare, the one!
4. Wenn ich in deine Augen seh‘ When I gaze into your eyes
Wenn ich in deine Augen seh‘,
When I gaze into your eyes,
So schwindet all‘ mein Leid und Weh; All my pain and woe vanishes;
Doch wenn ich küße deinen Mund,
Yet when I kiss your lips,
So werd‘ ich ganz und gar gesund.
I am made wholly and entirely healthy.
Wenn ich mich lehn‘ an deine Brust,
Kommt‘s über mich wie Himmelslust;
Doch wenn du sprichst: ich liebe dich!
So muß ich weinen bitterlich.
When I lay against your breast
It comes over me like longing for heaven;
Yet when you say, “I love you!”
I must cry so bitterly.
6
t e x ts and t r ans lations
5. Ich will meine Seele tauchen I want to delve my soul
Ich will meine Seele tauchen
I want to delve my soul
In den Kelch der Lilie hinein;
Into the cup of the lily;
Die Lilie soll klingend hauchen
The lily should give resoundingly
Ein Lied von der Liebsten mein.A song belonging to my beloved.
Das Lied soll schauern und beben
The song should shudder and tremble
Wie der Kuß von ihrem Mund,Like the kiss from her lips
Den sie mir einst gegeben
That she once gave me
In wunderbar süßer Stund‘.
In a wonderfully sweet hour.
6. Im Rhein, im schönen Strome Im Rhein, im heiligen Strome,
Da spiegelt sich in den Well‘n
Mit seinem großen Dome
Das große, heil‘ge Köln.
Im Dom da steht ein Bildnis,
Auf goldnem Leder gemalt;
In meines Lebens Wildnis
Hat‘s freundlich hineingestrahlt.
In the Rhine, in the fair stream
In the Rhine, in the holy stream
Is it mirrored in the waves—
With its great cathedral—
That great, holy city Cologne.
In the Cathedral stands an image
Painted on golden leather;
Into the wildness of my life
Has it shone, friendly.
Es schweben Blumen und Eng‘leinFlowers and little cherubs hover
Um unsre liebe Frau;Around our beloved Lady;
Die Augen, die Lippen, die Wänglein,
The eyes, the lips, the cheeks—
Die gleichen der Liebsten genau.
They match my beloved’s exactly.
7. Ich grolle nicht, I bear no grudge,
und wenn das Herz auch bricht even when my heart is breaking
Ich grolle nicht, I bear no grudge,
und wenn das Herz auch bricht,
even when my heart is breaking!
Ewig verlor‘nes Lieb ! Ich grolle nicht.Love lost forever! I bear no grudge.
Wie du auch strahlst Although you shine
in Diamantenpracht,
in diamond splendor,
Es fällt kein Strahl No beam falls
in deines Herzens Nacht.
into the night of your heart.
Das weiß ich längst.
I will know that for a long time.
Ich grolle nicht, I bear no grudge,
und wenn das Herz auch bricht,
and when my heart is breaking!
Ich sah dich ja im Traume,
I truly saw you in my dreams
Und sah die Nacht And saw the night
in deines Herzens Raume,
in the room of your heart,
Und sah die Schlang‘, And saw the snake
die dir am Herzen frißt,
that bites your heart;
Ich sah, mein Lieb, wie sehr du elend bist. I saw, my dear, how truly miserable you are.
7
t e x ts and t r ans lations
8. Und wüßten‘s die Blumen, die kleinen And if the blooms–the small ones–knew
Und wüßten‘s die Blumen, die kleinen,And if the blooms–the small ones–knew
Wie tief verwundet mein Herz,
How deeply wounded is my heart,
Sie würden mit mir weinen,
They would weep with me
Zu heilen meinen Schmerz.
To heal my pain.
Und wüßten‘s die Nachtigallen,And if the nightingales knew
Wie ich so traurig und krank,
How sad and ill I am,
Sie ließen fröhlich erschallen
They would let forth merrily
Erquickenden Gesang.A refreshing song.
Und wüßten sie mein Wehe,And if they knew my woe,
Die goldenen Sternelein,
The little golden stars,
Sie kämen aus ihrer Höhe,
They would come down from their heights
Und sprächen Trost mir ein.And speak their consolation to me.
Sie alle können‘s nicht wissen,
But all of them could not know this,
Nur eine kennt meinen Schmerz;Only one knows my pain;
Sie hat ja selbst zerrissen,She herself has indeed torn,
Zerrissen mir das Herz.
Torn my heart in two.
9. Das ist ein Flöten und Geigen There is a fluting and fiddling
Das ist ein Flöten und Geigen,
There is a fluting and fiddling
Trompeten schmettern darein;
With trumpets blaring in;
Da tanzt wohl den Hochzeitreigen
In a wedding dance dances
Die Herzallerliebste mein.She who is my heart’s whole love.
Das ist ein Klingen und Dröhnen,
There is a ringing and roaring,
Ein Pauken und ein Schalmei‘n;A drumming and sounding of shawms
Dazwischen schluchzen und stöhnen
In between which sob and moan
Die lieblichen Engelein.
The lovely little angels.
10.Hör‘ ich das Liedchen klingen
I hear the dear song sounding
Hör‘ ich das Liedchen klingen,
I hear the dear song sounding
Das einst die Liebste sang,
That once my beloved sang.
So will mir die Brust zerspringenAnd my heart wants to burst so strongly
Von wildem Schmerzendrang.From the savage pressure of pain.
Es treibt mich ein dunkles SehnenA dark longing is driving me
Hinauf zur Waldeshöh‘,
Up into the heights of the woods
Dort löst sich auf in Tränen
Where in my tears can be dissolved
Mein übergroßes Weh’.
My own colossal woe.
8
t e x ts and t r ans lations
11.Ein Jüngling liebt ein Mädchen A young man loved a girl
Ein Jüngling liebt ein Mädchen,A young man loved a girl
Die hat einen andern erwählt;
Who had chosen another man;
Der andre liebt eine andre,
This other man loved yet another girl
Und hat sich mit dieser vermählt.And wed that one.
Das Mädchen nimmt aus Ärger
Den ersten besten Mann,
Der ihr in den Weg gelaufen;
Der Jüngling ist übel dran.
The first girl married out of spite
The first, best man
That happened into her path;
That young man is not well off.
Es ist eine alte Geschichte,
It is an old story,
Doch bleibt sie immer neu;
Yet it remains ever new;
Und wem sie just passieret,And to he whom it has just happened,
Dem bricht das Herz entzwei.
It will break his heart in two.
12.Am leuchtenden Sommermorgen On a shining summer morning
Am leuchtenden SommermorgenOn a shining summer morning
Geh‘ ich im Garten herum.
I wander around my garden.
Es flüstern und sprechen die Blumen,
The flowers are whispering and speaking;
Ich aber wandle stumm
I, however, wander silently.
Es flüstern und sprechen die Blumen,
The flowers are whispering and speaking
Und schauen mitleidig mich an:And look at me sympathetically.
Sei unsrer Schwester nicht böse,
“Do not be angry with our sister,
Du trauriger blasser Mann.
You sad, pale man.”
13.Ich hab‘ im Traum geweinet I wept in my dream
Ich hab‘ im Traum geweinet,
I wept in my dream,
Mir träumte, du lägest im Grab.
I dreamed you lay in a grave.
Ich wachte auf, und die Träne I awoke, and my tears
Floß noch von der Wange herab.Still flowed down my cheeks.
Ich hab‘ im Traum geweinet,
Mir träumt‘, du verließest mich.
Ich wachte auf, und ich weinte
Noch lange bitterlich.
I wept in my dream,
I dreamed you had abandoned me.
I awoke and I cried
Bitterly for a long while.
Ich hab‘ im Traum geweinet,
I wept in my dream,
Mir träumte, du wär‘st mir noch gut.
I dreamed you were still good to me.
Ich wachte auf, und noch immer
I awoke, and still
Strömt meine Tränenflut.Streams my flood of tears.
9
t e x ts and t r ans lations
14.Allnächtlich im Traume seh‘ ich dich Nightly I see you in my dreams
Allnächtlich im Traume seh‘ ich dichNightly I see you in my dreams
Und sehe dich freundlich grüßen,And I see you greet me, friendly,
Und laut aufweinend stürz‘ ich michAnd crying out loudly, I throw myself
Zu deinen süßen Füßen.At your sweet feet.
Du siehest mich an wehmütiglich
You look at me sorrowfully
Und schüttelst das blonde Köpfchen;And shake your dear, blond head;
Aus deinen Augen schleichen sich From your eyes sneak forth
Die Perlentränentröpfchen.
The pearly teardrops.
Du sagst mir heimlich ein leises Wort
You say a soft word to me secretly,
Und gibst mir den Strauß von Zypressen.And give me a branch of the cypress;
Ich wache auf, und der Strauß ist fort,
I awake, and the branch is gone,
Und das Wort hab‘ ich vergessen.And I have forgotten the word.
15.Aus alten Märchen winkt es From old fairy tales beckons
Aus alten Märchen winkt esFrom old fairy tales beckons
Hervor mit weißer Hand,
To me a white hand,
Da singt es und da klingt es
Where there is a singing and sounding
Von einem Zauberland;Of a magical land,
Wo bunte Blumen blühen
Where multicolored flowers bloom
Im gold‘nen Abendlicht,
In golden twilight,
Und lieblich duftend glühen,And glow lovely and fragrant
Mit bräutlichem Gesicht;
With their bridal visage,
Und grüne Bäume singenAnd where green trees sing
Uralte Melodei‘n,
Primeval melodies;
Die Lüfte heimlich klingen,
Where breezes sound secretly,
Und Vögel schmettern drein;And birds warble,
Und Nebelbilder steigenAnd mist-figures rise
Wohl aus der Erd‘ hervor,From the earth
Und tanzen luft‘gen ReigenAnd dance airy round-dances
Im wunderlichen Chor; In an odd chorus,
Und blaue Funken brennenAnd blue sparks burn
An jedem Blatt und Reis,On every leaf and twig,
Und rote Lichter rennenAnd red lights run
Im irren, wirren Kreis;
In a mad, chaotic circle,
Und laute Quellen brechenAnd loud springs break
Aus wildem Marmorstein.Out of wild marble stone,
Und seltsam in den BächenAnd in the streams—oddly—
Strahlt fort der Widerschein. Shine forth the reflections.
Ach, könnt‘ ich dorthin kommen,Ah! If I could enter there
Und dort mein Herz erfreu‘n,And indulge my heart
Und aller Qual entnommen,And give up my agony
Und frei und selig sein!And be free and holy!
Ach! jenes Land der Wonne,Ah! This is the land of bliss
Das seh‘ ich oft im Traum,
That I see so often in a dream,
Doch kommt die Morgensonne,
But when the morning sun comes,
Zerfließt‘s wie eitel Schaum
It melts like mere froth.
10
t e x ts and t r ans lations
16.Die alten, bösen Lieder The old, angry songs
Die alten, bösen Lieder,
The old, angry songs,
Die Träume bös und arg,
The dreams angry and wicked—
Die laßt uns jetzt begraben,Let us now bury them.
Holt einen großen Sarg.Fetch a large coffin.
Hinein leg‘ ich gar manches,
In it will I lay many things,
Doch sag‘ ich noch nicht, was;
But I will still not say quite what.
Der Sarg muß sein noch größer,
The coffin must be still larger
Wie‘s Heidelberger Faß.As the cask in Heidelberg.
Und holt eine Totenbahre,And fetch a death bier
Und Bretter fest und dick;And planks firm and thick;
Auch muß sie sein noch länger,
They must be still longer
Als wie zu Mainz die Brück‘.
Than the bridge to Mainz.
Und holt mir auch zwölf Riesen,And fetch me, too, twelve giants;
Die müssen noch stärker sein
They must be still stronger
Als wie der starke Christoph
Than that strong St. Christopher
Im Dom zu Köln am Rhein.
In the Cathedral to Cologne on the Rhine.
Die sollen den Sarg forttragen,
They should carry the coffin away
Und senken ins Meer hinab;And sink it down deep in the sea,
Denn solchem großen SargeSince such a great coffin
Gebührt ein großes Grab.
Deserves a great grave.
Wißt ihr, warum der Sarg wohl
Do you know why the coffin
So groß und schwer mag sein?
Must be so large and heavy?
Ich senkt auch meine Liebe I sank with it my love
Und meinen Schmerz hinein.And my pain, deep within.
Music by Robert Schumann
Text by Heinrich Heine
11
n at h a n gu n n , b ar itone
Photo by M Sharkey Photography
Nathan Gunn has made a reputation as one of
the most exciting and in-demand baritones of
the day.
He has appeared in internationally renowned
opera houses such as the Metropolitan Opera,
San Francisco Opera, Lyric Opera of Chicago,
Royal Opera House, Paris Opera, Bayerische
Staatsoper, Glyndebourne Opera Festival,
Theater an der Wien, Teatro Real in Madrid,
and the Théâtre Royal de la Monnaie. His many
roles include the title roles in Billy Budd, Eugene Onegin, Il Barbiere di
Siviglia, and Hamlet; Guglielmo in Cosí fan tutte, the Count in Le Nozze
di Figaro, Malatesta in Don Pasquale, Belcore in L’Elisir d’Amore, Ottone
in L’incoronazione di Poppea, Tarquinius in The Rape of Lucetia, Danilo
in The Merry Widow, and The Lodger in The Aspern Papers.
A noted supporter of new works, Gunn most recently created the
role of Inman in Jennifer Higdon’s Cold Mountain at the Santa Fe Opera.
He also created the roles of James Dalton in Iain Bell’s The Harlot’s
Progress at the Theater an der Wien, Yeshua in Mark Adamo’s The
Gospel of Mary Magdalene at the San Francisco Opera, Paul in Daron
Hagen’s Amelia at the Seattle Opera, Alec Harvey in André Previn’s Brief
Encounter at the Houston Grand Opera, Father Delura in Peter Eötvös’s
Love and Other Demons at the Glyndebourne Opera Festival, and Clyde
Griffiths in Tobias Picker’s An American Tragedy at the Metropolitan
Opera. Because of this dedication to new works, Gunn is the director of
the American Repertoire Council at the Opera Company of Philadelphia,
a steering council focused on advancing the company’s American
Repertoire Program, which is committed to produce a new American
work in ten consecutive seasons.
Also a distinguished concert performer, Gunn has appeared with
the New York Philharmonic, Boston Symphony Orchestra, Chicago
Symphony Orchestra, San Francisco Symphony, Pittsburgh Symphony
Orchestra, Cleveland Orchestra, Minnesota Orchestra, London
Symphony Orchestra, Münchner Rundfunkorchster, and the Rotterdam
Philharmonic Orchestra. The many conductors with whom he has
worked with include Sir Andrew Davis, Sir Colin Davis, Christoph von
Dohnányi, Christoph Eschenbach, Alan Gilbert, Daniel Harding, James
Levine, Kurt Masur, Kent Nagano, Antonio Pappano, David Robertson,
12
Donald Runnicles, Esa-Pekka Salonen, Robert Spano, Michael Tilson
Thomas, and Mark Wigglesworth.
A frequent recitalist, Gunn has been presented in recital at Alice Tully
Hall and by Carnegie Hall in Zankel Hall. He has also been presented by
Roy Thomson Hall; Cal Performances; the Schubert Club; the Philadelphia
Chamber Music Society; the Vocal Arts Society in Washington, D.C.; the
University of Chicago; the Krannert Center; the Wigmore Hall; and the
Théâtre Royal de la Monnaie. As a student, he performed in series of
recitals with his teacher and mentor John Wustman that celebrated the
200th anniversary of Franz Schubert’s birth.
Gunn has recently ventured outside the standard opera repertoire with
appearances in performances of the the title role in Sweeney Todd with
the Houston Grand Opera, Camelot and Carousel with the New York
Philharmonic (both broadcasted on PBS), and Show Boat at Carnegie
Hall and the Lyric Opera of Chicago. He also appeared in the New York
Philharmonic’s 80th birthday gala celebration for Stephen Sondheim
and appeared with the orchestra in an evening of Broadway classics
with Kelli O’Hara. Other engagements have included appearances with
Mandy Patinkin in Rochester, the Krannert Center, the Ravinia Festival,
and on tour in Australia and New Zealand, a series of cabaret shows at
the famed Café Carlyle in New York City and at the Segerstrom Center
for the Arts in Orange County, special guest artist in the Mormon
Tabernacle Choir’s annual Christmas with the Mormon Tabernacle Choir
and Orchestra at Temple Square, and a performance of Sting and Trudie
Styler’s work, Twin Spirits in the Allen Room at Jazz at Lincoln Center.
Gunn’s solo album, Just before Sunrise, was released on Sony/BMG
Masterworks. Other recordings include the title role in Billy Budd with
Daniel Harding and the London Symphony Orchestra (Virgin Classics),
which won the 2010 Grammy Award; the first complete recording of
Rogers & Hammerstein’s Allegro (Sony’s Masterworks Broadway); Peter
Grimes with Sir Colin Davis and London Symphony Orchestra (LSO Live!),
which was nominated for a 2005 Grammy Award; Il Barbiere di Siviglia
(Sony Classics); Kullervo with the Atlanta Symphony Orchestra (Telarc);
and American Anthem (EMI). He also starred as Buzz Aldrin in Man on
the Moon, an opera written specifically for television and broadcast on
the BBC in the UK. The program was awarded the Golden Rose Award
for Opera at the Montreux Festival in Lucerne.
This season, Gunn appears at both the Dallas Opera and the San
Diego Opera in the world premiere of Jake Heggie’s Great Scott. He also
makes a guest appearance in the San Francisco Symphony Orchestra’s
13
opening night gala, and appears in recital in Louisville and here at Emory
University.
Gunn was the recipient of the first annual Beverly Sills Artist Award,
and was awarded the Pittsburgh Opera Renaissance Award. He is an
alumnus of the Metropolitan Opera Lindemann Young Artists Program
and was a winner of the 1994 Metropolitan Opera National Council
Competition. Gunn is also an alumnus of the University of Illinois at
Champaign-Urbana where he is a professor of voice and the general
director of the Lyric Theater @ Illinois.
Photo by M Sharkey Photography
ju lie gu n n , p iano
Julie Gunn is a pianist, music director, vocal
coach, and song arranger. She has appeared on
many prestigious recital series, including the
Carnegie Hall Pure Voice Series, Lincoln Center
Great Performers, Boston’s Jordan Hall, Brussels’
Theatre de la Monnaie, San Francisco’s Herz Hall,
the 92nd Street Y, Toronto’s Roy Thompson Hall,
University of Chicago Presents, San Francisco
Performances, Oberlin College, Cincinnati
Conservatory of Music, the Krannert Center for
the Performing Arts, the Ravinia Festival, Manhattan’s legendary Café
Carlyle, the Sydney Opera House, and the United States Supreme Court.
She has been heard in recital with William Burden, Richard Croft,
Elizabeth Futral, Isabel Leonard, Stefan Milenkovich, Mandy Patinkin,
Yvonne Gonzales Redman, Michelle De Young, the Pacifica Quartet,
and Nathan Gunn.
In her faculty appointment at the University of Illinois, Gunn works
with singers, pianists, chamber musicians, and songwriters as the
director of lyric theater studies. She has served on the music staff
at the Metropolitan Opera Young Artist Program, Wolf Trap Opera,
Opera Theatre of St. Louis, Southern Methodist University, Opera
North, Highlands Opera Studio, Theaterworks, Chicago Opera Theater,
and Illinois Opera Theater, and given masterclasses at universities and
young artists’ programs all over the United States, including the Ryan
Young Artists’ Program, Houston Grand Opera Studio, and Cincinnati
Conservatory of Music, Santa Fe Opera, the Aspen Festival, the
Interlochen Center for the Arts, and the Metropolitan Opera Guild,
as well as tenures as artist in residence at Cincinnati Opera and the
Glimmerglass Festival.
14
Gunn serves as the assistant director for development and public
engagement at the School of Music. She works as an advocate for state
and local arts organizations in the development of projects ranging
from constructing arts buildings to mentoring inner-city high-schoolers
interested in the arts. She is the founder and director of the Illinois
School of Music Academy, a program for talented pre-college chamber
musicians and composers.
On a national level, she solicits and programs the work of emerging and
established American songwriters on recitals, and is proud to have been
the music director of her husband Nathan Gunn’s solo disc, Just before
Sunrise, released by Sony/BMG records, which included arrangements
of songs by Gene Scheer, Ben Moore, Joe Thalken, Billy Joel, Sting, and
Charles Ives. Her orchestral arrangements of traditional American songs
and standards have been heard at the Kennedy Center, Carnegie Hall,
Chicago’s Symphony Center, and London’s Queen Elizabeth Hall.
Gunn lives in Champaign, Illinois, with her husband and five children.
15
S ch wa rtz Ce n te r Staff
Robert McKay, Executive Director
Katie Pittman, Managing Director
Lisa Baron, Communications Specialist
Stephanie Patton Butler, Box Office Manager
Carrie Christie, Administrative Assistant
Lewis Fuller, Operations Manager
Malina Jones, Assistant Box Office Manager
Heather Pynne, Assistant Stage Manager
Mark Teague, Stage Manager
Nina Vestal, House Manager
Matt Williamson, Multimedia Specialist
The Schwartz Center gratefully acknowledges the
generous ongoing support of Donna and Marvin Schwartz.
Center for Creativity and Arts Marketing Team
Rachael Walters Brightwell, Marketing Manager
Nicholas P. Surbey, Communications Specialist
T h e Fl or a Gl e n n Candler
Co n c e rt s Committee
Rosemary Magee, Committee Chair, Director of the Stuart A. Rose
Manuscript, Archives, and Rare Book Library
Richard Patterson, Immediate Past Chair, Department of Philosophy
Janice Akers, Theater Emory
Greg Catellier, Emory Dance
Elena Cholakova, Department of Music
Allison Dykes, Vice President and Secretary of the University
Leslie Harris, Department of History
Ken Hepburn, School of Nursing
Ruby Lal, Department of Middle Eastern and South Asian Studies
Robert McKay, Schwartz Center
Sarah McPhee, Department of Art History
Bobby Paul, Department of Anthropology
Deborah Slover, Department of Music
16
Fr ie nds of Mu s ic
Executive Committee Members
Ray DuVarney, President
Mary Emma McConaughey, Immediate Past President
Linwood Keith, Treasurer
Lynn Hart, Secretary
Carolyn Suwyn, VP, Membership
Angelika Pohl, VP, Hospitality
Jeffrey Young, VP, Communications
Allen Garrison, Chair, Grants Committee
Rosemary Magee, Chair, Candler Concerts Committee
Deborah Slover, Chair, Department of Music
Kathy Summers, Department of Music
Martha Shockey, Department of Music
Rhonda Davidson, Development, Arts and Sciences
Janie Alexander, Mary Brantley, Jim Overbeck, Hank Siegelson,
and Melinda Young, Ex Officio Members
Members who made gifts between
January 1, 2015, and January 4, 2016
*denotes Advisory Board member
lifetime members
Conductors (continued)
John and Linda Cooke
Gretchen Nagy and
the Rev. Allan Sandlin
Drs. Ayten and Tuncer Someren
Composers $2,500 and up
Anonymous
Gary and Cindy Frischling
Lori Larson and Jim McNair
Artists $500–$999
Anonymous (3)
Timothy Albrecht
Conductors $1,000–$2,499
Guy Benian
Anonymous
R. Wayne and Jane* Woods Alexander Matthew and Natalie Bond Bernstein
Marvin A. and Mary* Brantley
Neil H.* and Kelley O. Berman*
Max and Carolyn Brown
Ursula Blumenthal*
Drs. Carol and Aubrey Bush
Dr. and Mrs. Robert P. Castleberry
Caterpillar Foundation
Charlie* and Dorothy Chitwood*
Donald and Barbara Defoe
The Late Honor C. Cobbs
Mary Ellen and Raymond DuVarney
Coca-Cola Foundation
Bradley Howard
Ann M. Lassiter*
Barbara M. Hund*
William Levisay and Jennifer Saliers
Jon and Mary Kolkin
Gayle Mahon
17
Fr ie nds of Mu s ic
artists (Continued)
patrons (continued)
Mary Emma and Dan McConaughey
Judith and David Plott
Vernon and Deanna Robbins
Don Saliers*
Deborah and Frank Slover
Robert and Cynthia Tauxe
Burton Trimble Jr.
Dr. Mary Anne L. Valdecanas and
Dr. Bradford H. Priddy
David Winston
R. Martin and Holly Ulmer York
James and Fentress Waits
John Arthur White and Richard G. Low
Sue Sigmon Williams
Jeffrey E.* and Melinda R.* Young
Sponsors $100–$299
Anonymous
Paul and Marian Anderson
Dr. Marian Archetto and
Ralph Hickman Jr.
Cathy and Wilfred Arnett
Dr. Deborah Ayer
Patrons $300–$499
Mrs. Leslie R. Baker
James Bross
Nancy Barber
Dr. Martine Watson Brownley
Robert Berry and Jane Seward
E. Pope Bullock and Sarah McPhee
Adrienne and Roy T. Black
James B. and Anne Holden Carson Jr. Drs. Nancy and Donald Bliwise
Frank and Patricia Daly
Jerome and Elaine Blumenthal
Dr. Brenda Ann Bondeson
Steve Foote and Laura Waddick
Dr. Richard and Mrs. Phyllis Franco
Sidney and Bernice Breibart
Donna Jean Brogan and Z. T. Daniels
Lynn L. Hart
Jo Koch
Melissa and James Cox
Gray and Marge Crouse
Dr. James T. and Mrs. Berta Laney
Dr. Lois Kaye Lee and Dr. Young-Jo Kim Dr. Lucy Davidson
Pamela H. and Christopher Martin
Sally and Peter Dean
Dr. Marianne Scharbo DeHaan
McKesson Foundation Inc.
Polly Price
Delta Airlines Foundation
David Z. Demirbilek
Dorothy K. Powers
Frances Ray
Sara and Marshall Duke
Dr. Francine Dykes
Regine Reynolds-Cornell
Carol and Dan Roper
Mary Frances Early*
Sanofi Foundation for North America Mr. and Mrs. Robert G. Edge
Dr. Jonas Shulman and
John Nolan Eley
EY Foundation
Ms. Pamela Terry
Deborah D. Floyd and Ann B. Deal
Dr. Henry J. Siegelson and
Diana K. and Charles G. Forrest
Kim Siegelson
Joyce Fraser
Jim and Kathy Summers
Drs. Carla Freeman and
Carolyn R. Suwyn and Terry Oser
Paul* and Jonne Walter
Robert L. B. Goddard
18
Fr ie nds of Mu s ic
sponsors (continued)
sponsors (continued)
Allen and Sharon* Garrison
Dr. and Mrs. G. Robert Gary Sr.
Dr. Larry Gilger
Dr. Lindsay and Mrs. Diane Golden
Dr. David J. Goldsmith and
Beverly Greenwald
Bernard Goldstein
Dr. Martin I. and Doris Goldstein
Linda Graves
Karen D. and Vernon Griffith
Dr. Carole L. Hahn
Valerie A. Hall
Sally Willingham Hawkins
Reverend A. Kempton Haynes Jr.
Michael and Suzanne Heninger
James E. Honkisz and Catherine Binns
IBM Corporation
Kevin C. Karnes
Bob and Jane Kibler
Kathryn M. Kite
Scott and Carrie Putterman Kitner
Andrea and Edward Krakovsky
Barbara and Don Kruse
Alfred Land and Elizabeth Kirk
Dr. Frank Lechner and Jennifer Webster
Anne A. Lester*
Joanne Lincoln
Gloria Liu and David Costello
Dr. Jo Marie Lyons
Dolores M. Malvitz
Michael R. Mitchell
Peter A. Morin
The Rev. Anne White Morton
Joe Mulinare and Kathy Shands
Dr. Susan Muller
Steven and Kathleen Neibart
Eric and Susan Nelson
Grace Eunkyung Oh
Dr. and Mrs. John O’Shea
Philip Otis and Maria Del Rosario Otis
Drs. James and Lois Overbeck
Rev. Dr. John H. and Mrs. Helen Patton
Andreas Penninger
Sandra and Sidney Perkowitz
Angelika Pohl
Elizabeth and Danail Racheva
Nancy A. Ransom
Dr. William Ransom
James L. and Lee Rencher
Dr. Regine Reynolds Cornell
Barbara Ellis Rosenblit and
Isaiah Rosenblit
Drs. Anna and Niels Rosenquist
Larry Rubin
Fred and Marsha Rueff
Domenic Salerni
Mrs. Ruth Kirby Sanders
Dr. Beverly K. Schaffer
Joyce and Henry Schwob
Bob and Linda Schnapper
June and John Scott
Eric B. Seo and Sarah Kang
Jack Shenk
Michael and Laurine Sibilia
Paul Z. Siegel
Nora and Paul Sites
Mr. Robert and Dr. Lynne E. Sloop
Mary P. Smith
Mae Nelson Stone
Edward F. Sugarman and
Beth Greenblat Sugarman
Poppy Tanner
Dr. and Mrs.* Kenneth Taratus
Leslie M. Taylor and David Pratt
Oliver and Barbara Thompson
Titan Solutions Group
Barry and Louisa Titus
Constance Tooze
19
Fr ie nds of Mu s ic
sponsors (continued)
members (continued)
Robert and Anne Vance
Linda Visk
Elizabeth A. Walton
Edward Weldon and Jane Powers
Weldon
Dr. Ellis and Mrs. Norma P. West
Clare Whitfield
Dr. and Mrs. F. Brown Whittington
W. Dean and Mary Kay Wilcox
David C. and Dina Williams
Dan and Snow Williams
Russell F. Winch
Drs. Jon and Karin Gunnemann
Victoria Espitia-Hardeman
Laura J. and John Hardman
Betty and Billy Harrell
Alan and Lucy Hinman
J. Linwood and Dorothy P. Keith
Emily Kisber
Dr. William J. and Caroline Klopstock
Frank and Karen Lindauer
Eric and Nancy Granade Lucas
Kenneth and Sarah Leathers Martin
Dan and Janet Maslia
Peter and Annette* Mayfield
David G. Moriarty
The Rev. Anne White Morton
Serge P. Neprash
Walter and Mary O’Briant
Dr. Giselle Ow-Yang
Dr. Giglia Anne Parker
G. E. Plunkett
George and Cynthia Quillian
Judith Raggi-Moore and Danny Moore
Roy and Amanda Rogers
Ted and Cindy Runyon
Norma Rushing
Lauren and Scott Shankman
George and Cynthia Shepherd
Martha Shockey
Roberta L. Shoup
Ryan Sutherland
Martine Kennedy van Voorthuysen
Mary E. Ward
Ted and Mudie Weber
Dr. Kristin F. Wendland
Angelica Zhang
Members $50–$99
Anonymous (3)
Howard Abrahams
Myrna Abramson
James H. and Mary Bailey
Bank of America
Charitable Foundation
Peter and Geneva Benoit
Lynn and Maglyn Bertrand
Martha and Walter Bishop
Stanley and Laura Blackburn
Brenda and Cary Bynum
Loren and Ruth Ann Carter
Annie and David Carey
Stanley Citron
Henry and Claudia Colvin
Richard S. Colvin, MD
Dr. Stephen and Susan Crist
Catherine and William Curlette
John P. and Donna Devlin
Georgia and Andrew Ekonomou
Margaret and Paul Ellingson
George Robert Gary Sr.
Please call 404.727.6280 for information
on joining the Friends of Music.
20
U p c omin g Mu s ic Ev ents
Go to music.emory.edu to view the complete list of upcoming music events.
For more information contact the Arts at Emory Box Office at 404.727.5050,
or visit arts.emory.edu.
Ticket prices are listed in the following order: Full price/Discount category
member price/Emory student price (unless otherwise noted as the price for all
students). Visit arts.emory.edu to see if you qualify for a discount.
Saturday, March 19, 2:00 p.m., Rohin Aggarwal, euphonium, honors student
recital, Emerson Concert Hall, Schwartz Center, free
Saturday, March 19, 3:30 p.m., B. Alex Rogers, bass, student recital,
Performing Arts Studio, free
Sunday, March 20, 4:00 p.m., Bach Birthday Recital, Emerson Concert Hall,
Schwartz Center, free
Friday, March 25, 8:00 p.m., Kakali Bandyopadhyay, sitar, faculty recital,
Emerson Concert Hall, Schwartz Center, free
Saturday, March 26, 2:00 p.m., Daun Kwag, violin, student recital, Emerson
Concert Hall, Schwartz Center, free
Tuesday, March 29, 8:00 p.m., Emory Jazz Combos, Emerson Concert Hall,
Schwartz Center, free
Thursday, March 31, 7:00 p.m., Barenaked Voices: Thirteenth Annual Emory
Student A Cappella Celebration, Emerson Concert Hall, Schwartz Center,
all tickets $5
Friday, April 1, noon, Bartók’s Piano Quintet, Emory Chamber Society of
Atlanta (ECMSA) Cooke Noontime Series, Carlos Museum, free
Saturday, April 2, 2:00 p.m., Casey Costello, piano, student recital, Emerson
Concert Hall, Schwartz Center, free
Arts at Emory Box Office/Audience Information
404.727.5050 • arts.emory.edu
IN CONSIDERATION Please turn off all pagers and phones.
PHOTOGRAPHS AND RECORDINGS Not permitted without advance permission.
COUGH DROPS In lobby, courtesy of Margery and Robert McKay.
USHERS Members of Music at Emory Volunteers and Alpha Phi Omega, a national service and social
fraternity. Call 404.727.6640 for ushering opportunities.
event and program information Available online at arts.emory.edu.
FRONT cover photographer credits: Nathan and Julie Gunn, M Sharkey Photography
Back cover photographer credits: Top (left to right): Chick Corea and Béla Fleck, C. Taylor
Crothers; Conrad Tao: Brantley Gutierrez; David Finckel, Wu Han, and Philip Setzer, Daniel Ashworth.
Bottom (left to right): Christian McBride, Andrew Lepley; Edgar Meyer, Jim McGuire; Julian Bliss,
courtesy of the Julian Bliss Septet; Gil Shaham, Luke Ratray, Nathan Gunn, Gunn Sharkey Photography.
21
candler
concert series
Chick Corea and Béla Fleck
2 0 1 5 / 2 0 1 6
schwartz center for performing arts
10.3.15 at 8:00 p.m.
Conrad Tao, piano
10.16.15 at 8:00 p.m.
An Evening with Bassists Christian McBride and Edgar Meyer
10.30.15 at 8:00 p.m.
David Finckel, cello; Wu Han, piano; and Philip Setzer, violin
11.7.15 at 8:00 p.m.
Julian Bliss Septet:
A Tribute to Benny Goodman
candler
concert series
2.6.16 at 8:00 p.m.
The Knights with Gil Shaham, violin
2.20.16 at 8:00 p.m.
Nathan Gunn, baritone
3.18.16 at 8:00 p.m.
arts.emory.edu • 404.727.5050
natha n G u n n , b a r i t o n e
J ul i e g u n n , p i a n o
Friday, March 18, 8:00 p.m.

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