CARNEGIE HALL PRESENTS
The Song Continues...Marilyn Horne Foundation Annual Recital

Zankel Hall
Friday, January 22nd, 2010 at 7:30 PM

Marilyn Horne
Keri Alkema, Soprano
Elaine Alvarez, Soprano
Amanda Majeski, Soprano
Jennifer Zetlan, Soprano
Michael Baitzer, Piano
Warren Jones, Piano
Tamara Sanikidze, Piano
David Shimoni, Piano
Kathleen Kim, Special Guest Artist

RESPIGHI "Nebbie"
DONAUDY "O del mio amato ben"
JAKE HEGGIE "My True Love Hath My Heart"
JAKE HEGGIE "Danny Boy"
JAKE HEGGIE "I Shall Not Live in Vain"
HAHN "Sopra l'acqua indormenzada"
HAHN "La barcheta"
DEBUSSY "Beau soir"
HAHN "Dans la nuit"
BERLIOZ "La Mort d'Ophélie," Op. 18, No. 2
RACHMANINOFF Daisies, Op. 38
·· Noch'ju v sadu u menja (In My Garden at Night)
·· K nej (To Her)
·· Margaritki (Daisies)
·· Son (Dreams)
·· Au (The Quest)
LISZT "Im Rhein, im schönen Strome"
LISZT "Die Loreley"
TURINA Tres Poemas, Op. 81
·· Olas gigantes
·· Tu pupila es azul
·· Besa el aura

A program of The Weill Music Institute at Carnegie Hall in partnership with The Marilyn Horne Foundation

Professional Training Workshops are made possible, in part, by Mr. and Mrs. Nicola Bulgari and the Gladys Krieble Delmas Foundation.

Program Notes:

Two Italian Romantics

At the mention of Ottorino Respighi, we automatically think of the fountains and pines of Rome transformed into orchestral music. But the lirica ("art-song") was an intimate journal to which he returned only at intervals. "Nebbie" is one of his best-known songs, and no wonder: The initial passage, rising an octave-and-a-half in the space of five expansive measures, is gripping in its intensity. Crows (death omens, as in Vincent van Gogh’s last painting) cross the fields to a counterbalancing descent, upon which the agonized rise and fall are repeated.

Half-French, half-Italian composer Stefano Donaudy taught voice, accompanied singers, and composed in Palermo, Sicily; his last opera was an unmitigated fiasco, and the deeply disappointed composer died three years later at age 46. But the songs in his 36 Arie di stile antico have been popular with singers from Enrico Caruso and Beniamino Gigli to Arleen Augér and Sumi Jo. The wistful, anguished song of lost love, "O del mio amato ben," is a perfect specimen of Donaudy’s elegance and sensuality.


In Praise of American Song

Jake Heggie, in addition to his acclaimed operas Dead Man Walking (1998–2000), The End of the Affair (2003, revised 2004–2005), and Three Decembers (2008), has composed some 200 songs and is an accomplished poet.

"I have always been in love with folk music—the direct and intense emotional impact of the music and its ‘timelessness’ moves me very much," said Heggie, and his folksong settings include a version of "Danny Boy," surely one of the most famous songs on the planet. The words were written by English lawyer and lyricist Frederick Weatherly in 1910 and modified by his sister in 1913 to fit the "Londonderry Air," a folk tune named after a county in Ireland and first published in George Petrie’s The Ancient Music of Ireland (1855).

"My True Love Hath My Heart" is a setting of a famous extract from the archetypal 16th-century Elizabethan poet-courtier Sir Philip Sidney’s romance, The Countess of Pembroke’s Arcadia. Heggie tells us that the poem was given to him as a love-token, which he set for two singers, cello, and piano. The beautiful permutation of Romantic style could not be more apropos for these words.

"I Shall Not Live in Vain" is nothing less than a bite-sized philosophy of life—our purpose is to ease the pain of others—by Emily Dickinson, to whose work Heggie was introduced by his first composition teacher, Ernst Bacon. Heggie writes exquisitely delicate chimes in the piano and then expands the bell-tones to greater amplitude as the song progresses, before the ethereal close.


France and its Master Composers of Song

Half-German Jewish, half-Venezuelan composer Reynaldo Hahn was among the most elegant denizens of belle époque Paris; his music evokes a bygone world. A protégé of Charles Gounod and Jules Massenet, he first became the lover, then the lifelong friend of Marcel Proust, and his songs are among the glories of turn-of-century French repertory.

For his Venezia cycle, Hahn used poems in Venetian dialect—the songs of love on Venice’s lagoons intended for the delectation of aristocrats at the most elegant salons. The seductive barcarolle "Sopra l’aqua indormenzada" is a setting of a poem by one of George Sand’s lovers, Pietro Pagello, while "La Barcheta" is even more erotic and alluring, with rhapsodic sighing at the end of each stanza.

Claude Debussy would revolutionize the language not just of French music, but of 20th century music in general. One can already hear in some of his early mélodies aspects of his mature style, such as the languorous alternation between harmonies at the beginning of "Beau Soir."

"The genuine beauty of singing consists in a perfect union, an amalgam, a mysterious alloy of the singing and the speaking voice, or to put it better, the melody and the spoken word," Hahn wrote. "Dans la nuit," to a poem by Jean Moréas (author of the Symbolist Manifesto in 1886), engulfs us in waves of passionate harmonies before we realize that the despairing persona is begging for death in the ocean’s depths.

In autumn 1844, Berlioz was working on incidental music for a production of Hamlet at the Odéon in Paris; the production never materialized, but he may have had the poignant "La Mort d’Ophélie," composed two years earlier, in mind for it. French dramatist Ernest Legouvé converted Queen Gertrude’s narration of Ophelia’s death in Act IV, Scene 7—"There is a willow grows aslant a brook"—from Shakespeare’s blank verse into rhyming verse in French. Above and around the water-music in the piano, the singer narrates the tragic events with devastating simplicity; both she and the piano, on occasion, break into musical sighs that are among the most poignant details of this work.


Rachmaninoff: Songs Before Exile

Rachmaninoff, his music influenced by Tchaikovsky and Scriabin (among others), wrote more than 80 songs between 1890 (when he was 17 years old) and his departure from revolution-torn Russia in 1917; these works are in the tradition of 19th-century romans, influenced by French romances rather than German lieder. The Op. 38 songs were his last before going into exile and abandoning the genre altogether. Here, he turns away from Russia’s Romantic poets to the Symbolists who had become a dominant force in Russian poetry in the early 20th century.

Sumptuous textures and sweeping melodies are expected in songs by one of the 20th century’s greatest pianists, and the first song in Op. 38, "Noch’ju v sadu u menja," does not disappoint. For Aleksandr Blok’s beautiful lament based on an Armenian poem (Blok is one of Russia’s most important lyric poets after Pushkin), Rachmaninoff punctuates the accompaniment with stabs of pain and fashions an ultra-rich climax before the song dies away in sorrow.

The words of the second song, "K nej," were written by Andrei Bely, whose novel St. Petersburg was regarded by Vladimir Nabokov as one of the great prose-works of the century. Like obsessive thoughts of the beloved for whom the persona waits longingly, the bare, unharmonized figure we hear in the piano at the beginning haunts the first half of the song.

The eccentric "Ego-Futurist" Igor Severyanin (a pseudonym meaning "Man from the North") put aside his gaudier, more bizarre vein for "Margaritki," a delicate, darling hymn to daisies. Rachmaninoff sets most of the song in the treble register, with a dip into the lower regions for a plea that earth and sky nourish such beauty.

A major figure of the so-called Silver Age of Russian Symbolist literature, Fyodor Sologub hails dreams in "Son," and Rachmaninoff begins with a dreamy transparency that builds to the kind of lush climax familiar to anyone who has played or heard his piano concertos. The long postlude, after words are hushed in sleep, is purest Rachmaninoff.

Another major Symbolist writer was Konstantin Balmont, who spent the last two decades of his life in exile and poverty and translated Edgar Allan Poe’s The Bells into Russian—the text of Rachmaninoff’s choral symphony, Op. 35. "Au" is the biggest song of the opus, an opulent, sweeping work that amply displays Rachmaninoff’s harmonic richness.


Liszt and Song

Most of Franz Liszt’s songs were not directed to the same 19th-century public who worshipped virtuoso performers like Liszt and Paganini, their seemingly superhuman skills enthralling to listeners. Instead, he used song to imagine the future of music, to experiment with what might lie around the corner.

Both the text and the music of "Im Rhein, im schönen Strome" ("In the Rhine, the beautiful river") were inspired by one of the great building projects of the 19th century: the completion of Cologne Cathedral, begun in 1248. The image of the Virgin in this song refers to a panel on a retable altar painted by Stephan Lochner circa 1440—one of the cathedral’s great artistic treasures. Liszt was prone to re-composing his songs; we hear the second version, with its gently lapping waves in the piano and ethereal harmonies in the treble register.

The beautiful, supernatural woman who sits on a rocky outcrop near the town of St. Goar high above the Rhine River and lures sailors to their deaths with her beautiful singing (she is a descendant of Homer’s sirens) is a recent myth: Romantic poet Clemens Brentano invented her, and Heinrich Heine shortly thereafter made her the subject of an unforgettable ballad. Liszt, who knew Heine personally, was as fascinated by "Die Loreley" as the sailors in the tale, setting it to music three times. Tonight, we hear the second version, a perfect example of Liszt’s advanced harmonic language and formal complexity.


A Trip to Spain

Joaquín Turina, the son of a painter of Italian descent, studied music first in his native Seville, then in Paris at the Schola Cantorum from 1905 until the start of World War I. He returned to Spain in 1914, was appointed professor of composition at the Madrid Conservatory in 1930, and died garlanded with his country’s highest honors.

Turina was fond of poetry by another Sevillian, Gustavo Adolfo Bécquer, and based several piano compositions and songs on his verse. In "Olas gigantes," the persona begs storm winds, waves, and tempest to carry him off so that he might no longer be alone with his pain; at the beginning, crashing chords break upon our ears like huge waves on the shore. "Tu pupila es azul" is a tender but passionate love song; the long, ecstatic melisma at the close seems bent on traveling to the "lost star" it hymns, while another modernization of the flamenco dancer’s classic ayi sounds at mid-song in "Besa el aura."

—Susan Youens

© 2010 The Carnegie Hall Corporation

More Information:

The Marilyn Horne Foundation's Annual Recital - this year entitled Dames at "C" - closes The Song Continues ..., a four-day festival that celebrates the art of the vocal recital. Festival events also include master classes led by leading artists and duo recitals of singers from the Marilyn Horne Foundation.

Marilyn Horne
Marilyn Horne

She has been called the “Star-Spangled Singer” and “the Heifetz of singers.” In 2002, after a career in which for over four decades Marilyn Horne had dominated her field, Opera News said, “Marilyn Horne, whose face and song have been in the light—in so many places, in so many styles, through so many media, for so many years—may be the most influential singer in American history.”

Marilyn Horne continues to be one of America’s most beloved artists and one of the busiest. She has received numerous accolades and honors in the arts as well as academia. Among her many worldwide prizes are the Commandeur of the Ordre des Arts et des Lettres from France’s Ministry of Culture, the Commendatore al Merito della Repubblica Italiana, the Fidelio Gold Medal from the International Association of Opera Directors, and the Covent Garden Silver Medal for Outstanding Service. Miss Horne’s international success in the most difficult of coloratura mezzo-soprano roles led to the revival of many of Rossini’s and Handel’s greatest operas. In an unprecedented move, she received Italy’s first Rossini Medaglia d’Oro, created especially for her.

Miss Horne celebrated 26 years as a leading lady at the Metropolitan Opera, and was honored for 39 seasons at the San Francisco Opera. Her many academic awards include numerous honorary doctorates from schools that include The Juilliard School, Johns Hopkins University, and the San Francisco Conservatory of Music. Miss Horne was inducted into the American Classical Music Hall of Fame and received a President’s Merit Award from the National Academy of Recording Arts and Sciences, the Opera News Award, and a Kennedy Center Honor. Miss Horne was also inducted into the American Academy of Arts and Sciences and was honored in Washington, DC, as a 2009 recipient of the National Endowment for the Arts Opera Honors.

In January 1994, in celebration of her birthday, Miss Horne launched the Marilyn Horne Foundation, dedicated to the art of the vocal recital and presentation of young singers in recital throughout the United States. Since its inception, the foundation has introduced 114 young singers in vocal recitals and educational programs in New York City and many cities across the country, reaching 120,000 students and adults.

Keri Alkema, Soprano
Keri Alkema, Soprano

In the 2009–2010 season, Keri Alkema made her soprano role debut to great critical acclaim as Donna Elvira in Christopher Alden’s production of Don Giovanni at New York City Opera. She will later be heard as Adalgisa in the original two-soprano version of Bellini’s masterpiece Norma at the Caramoor International Music Festival with Will Crutchfield. Future seasons will see her return to Washington National Opera and New York City Opera, as well as the Cincinnati May Festival and Ravinia Festival under the baton of James Conlon.

As a mezzo-soprano, Ms. Alkema was heard as Charlotte in Werther at Chautauqua Opera; Rosina in Il barbiere di Siviglia at Sarasota Opera; Zulma in L’italiana in Algeri at Opera di Treviso; Suzuki in Madama Butterfly at New York City Opera; Erika in Vanessa at Chautauqua Opera; and Meg in Little Women at Skylight Opera. While a member of the Domingo-Cafritz Young Artist Program at Washington National Opera, Ms. Alkema sang Clotilde in Norma, Alisa in Lucia di Lammermoor, Flora in La traviata, and Angelina in La Cenerentola.

On the concert stage, Ms. Alkema has worked with such notable conductors as Plácido Domingo, Emmanuel Villaume, Riccardo Frizza, Heinz Fricke, Antony Walker, and Anne Manson.

Elaine Alvarez, Soprano
Elaine Alvarez, Soprano

Elaine Alvarez has had major successes as Mimì in La bohème at Lyric Opera of Chicago and as soprano soloist in Rossini’s Stabat Mater under the baton of Riccardo Muti with the Orchestra e Coro del Maggio Musicale Fiorentino. Most recently, Ms. Alvarez made her debut at the Bayerische Staatsoper as Violetta in La traviata, conducted by Keri-Lynn Wilson.

Ms. Alvarez began the 2009–2010 season with her Oper Frankfurt debut as Mimì in La bohème and is scheduled to sing concert performances of Magda in La rondine at Frankfurt’s Alte Oper. She also makes her Arizona Opera debut as Mimì and her Florida Grand Opera debut in her hometown of Miami as Micaela in Carmen.

The 2008–2009 season saw Ms. Alvarez again as Mimì in La bohème at Teatro Carlo Felice in Genova and as the Countess in Mozart’s Le nozze di Figaro with Opera Cleveland. She also returned to Oper Leipzig in new productions of La rondine as Magda and Don Giovanni as Donna Anna.

Recitals for Ms. Alvarez have included her Washington, DC, debut with the prestigious Vocal Arts Society at the Kennedy Center’s Terrace Theater and a Marilyn Horne Foundation recital residency at the University of Pittsburgh, Bradford, both in the fall of 2007.

Amanda Majeski, Soprano
Amanda Majeski, Soprano

In spring 2009, American soprano Amanda Majeski received acclaim from both critics and audiences alike as Vitellia in Mozart’s La clemenza di Tito with the Chicago Opera Theater in a production directed by Christopher Alden.

Ms. Majeski subsequently joined the Lyric Opera of Chicago’s Ryan Opera Center for the 2009–2010 season, where she will cover Marguerite in Gounod’s Faust and the Countess in Le nozze di Figaro. Ms. Majeski also sang the role of Marguerite in Faust with Washington Concert Opera. In spring 2010, she will return to the Opera Theatre of Saint Louis as the Countess in Le nozze di Figaro. Future seasons will see Ms. Majeski at the Lyric Opera of Chicago, Canadian Opera Company, Pittsburgh Opera, and with the Hong Kong Philharmonic under Edo de Waart.

Ms. Majeski completed her graduate degree at the Curtis Institute of Music, where she was heard as Donna Anna in Don Giovanni, Magda in La rondine, Nuria in Ainadamar, in the soprano role in Poulenc’s La voix humaine, and in the title role of Tchaikovsky’s Iolanta.

Ms. Majeski’s recent concert performances include Handel’s Solomon and Messiah with Apollo Chorus of Chicago and Mahler’s Fourth Symphony with the Richmond Symphony Orchestra at the Kennedy Center.

Jennifer Zetlan, Soprano
Jennifer Zetlan, Soprano

Since graduating from The Juilliard School in 2006, soprano Jennifer Zetlan has made debuts with Florida Grand Opera as Lisa in La sonnambula, with New York City Opera as Frasquita in Carmen, and with the Metropolitan Opera in War and Peace. She has also received critical acclaim for her portrayal of Emily Webb in Our Town at Aspen Music Festival and with Juilliard Opera Center.

During the 2009–2010 season, Ms. Zetlan debuts with Nashville Opera as Madeline Usher in The Fall of the House of Usher and sings the role of The Flier in the world premiere of Daron Hagen’s Amelia with Seattle Opera. She also sings Laoula in L’Étoile with New York City Opera and joins the Metropolitan Opera for its production of Ariadne auf Naxos.

Ms. Zetlan began the 2008–2009 season as a featured soloist in New York City Opera’s Looking Forward concert series. She performed the role of The Boxer’s Wife in Ernst Krenek’s Schwergewicht, oder Die Ehre der Nation at Juilliard Opera Center under James Conlon and made her Avery Fisher Hall debut with the Juilliard Orchestra in Bernstein’s “Kaddish” Symphony, conducted by Alan Gilbert. For her performances with New York City Opera, Ms. Zetlan received the Dr. Marcia Robbins-Wilf Award.

Michael Baitzer, Piano
Michael Baitzer, Piano

Michael Baitzer has established himself as one of his generation’s top opera and recital pianists. A graduate of Drake University with degrees in piano and vocal performance, he continued studies with Margo Garrett at the University of Minnesota, and then Ms. Garrett and John Moriarty at New England Conservatory. He began a faculty position at The Juilliard School, which he held for 10 years, as well as a position on the music staff of the Spoleto Festival USA, which he also held for 10 years. In his first year at Juilliard, Mr. Baitzer joined the roster of the Marilyn Horne Foundation.

Mr. Baitzer was recently heard as the pianist for the 2009 National Endowment for the Arts Opera Awards Concert in Washington, DC. An avid recitalist, he has been heard throughout the country with many of today’s leading opera and recital singers, including Richard Cox, Keith Phares, Jennifer Rivera, and Jessica Jones. This season he is heard at Washington National Opera as the harpsichord player for Il barbiere di Siviglia and Le nozze di Figaro, and in Ariadne auf Naxos as a member of the orchestra.

Warren Jones, Piano
Warren Jones, Piano

Warren Jones has recently been named as Collaborative Pianist of the Year for 2010 by Musical America. He performs with many of today’s best-known artists, including Stephanie Blythe, Denyce Graves, Dame Kiri Te Kanawa, Anthony Dean Griffey, Ruth Ann Swenson, Bo Skovhus, Samuel Ramey, James Morris, John Relyea, and Joseph Alessi—and is principal pianist for the exciting California-based chamber music group Camerata Pacifica. In the past, he has partnered such great performers as Marilyn Horne, Håkan Hagegård, Kathleen Battle, Barbara Bonney, Carol Vaness, Judith Blegen, Tatiana Troyanos, and Martti Talvela. His collaborations have earned consistently high praise from many publications: The Boston Globe termed him “flawless” and “utterly ravishing”; the New York Times, “exquisite”; and the San Francisco Chronicle said simply, “He is the single finest accompanist now working.”

Mr. Jones has often been a guest artist at Carnegie Hall and in Lincoln Center’s Great Performers series, as well as the festivals of Tanglewood, Ravinia, and Caramoor. His international travels have taken him to recitals at the Salzburg Festival, Milan’s Teatro alla Scala, the Maggio Musicale Festival in Florence, the Teatro Fenice in Venice, Paris’ Théâtre des Champs-Élysées and Opéra Bastille, Wigmore Hall and Queen Elizabeth Hall in London, the Konzerthaus in Vienna, Suntory Hall in Tokyo, the Cultural Centre in Hong Kong, and theaters throughout Scandinavia and Korea. Mr. Jones has been invited three times to the White House by American presidents to perform at concerts honoring the President of Russia, and prime ministers of Italy and Canada—and three times he has appeared at the US Supreme Court as a specially invited performer for the Justices and their guests.

Mr. Jones is a member of the faculty at the Manhattan School of Music. Each summer he teaches and performs at the Music Academy of the West in Santa Barbara, California. For 10 years he was assistant conductor at the Metropolitan Opera and for three seasons served in the same capacity at San Francisco Opera.

Tamara Sanikidze, Piano
Tamara Sanikidze, Piano

A native of the Republic of Georgia, Tamara Sanikidze recently became an Adler Fellow at San Francisco Opera. At Washington National Opera, Ms. Sanikidze was a coach in the Domingo-Cafritz Young Artist Program, before serving as assistant conductor and coach for Don Giovanni, Rigoletto, Hansel and Gretel, La traviata, Carmen, Turandot, and Falstaff. She was also the principal coach for Eugene Onegin at Pittsburgh Opera and Opera Cleveland.

Ms. Sanikidze has performed with such artists as Elizabeth Futral, Nicole Cabell, Emily Albrink, Isabel Leonard, Magdalena Wór, Laura Brioli, Quinn Kelsey, Evan Hughes, and Sidney Outlaw, as well as Plácido Domingo in Beijing. She was the official pianist for the Operalia Competition in Budapest and performed at the White House for President George W. Bush and First Lady Laura Bush.

Ms. Sanikidze participated in programs at Wolf Trap Opera Company, the Merola Opera Program at San Francisco Opera, Aspen Music Festival, and the Music Academy of the West. She just completed a doctorate degree at the University of Maryland.

David Shimoni, Piano
David Shimoni, Piano

Pianist David Shimoni has built a career as a soloist, vocal coach, accompanist, chamber musician, and teacher. Winner of the National Federation of Music Clubs Young Artist Auditions, he has appeared in concert in New York’s Weill Recital Hall, Alice Tully Hall, the 92nd Street Y, and the Museum of Modern Art. He has been a guest artist at the Chautauqua, Brevard, Moab, Foothills, and Rockport music festivals, and his performances have been broadcast on radio stations throughout the United States.

Mr. Shimoni has worked with the Jupiter String Quartet, New York Festival of Song, Southeastern Festival of Song, and Toronto Dance Theatre. He frequently performs as a song recital accompanist under such auspices as the Juilliard School’s Alice Tully Hall Vocal Arts Debut Recital, the Marilyn Horne Foundation, Concert Artists Guild, Caramoor Center for Music and the Arts, Dallas Museum of Art, and the Artist Series of Sarasota. Another important part of his career have been the 15 educational and outreach tours throughout the US, in affiliation with the Piatigorsky Foundation.

Mr. Shimoni is currently an Associate Coach in the Vocal Arts Department at Juilliard. He has also been on the accompanying and teaching staff of Brooklyn College, Ravinia’s Steans Institute, and the New School for Jazz and Contemporary Music.

Kathleen Kim, Special Guest Artist
Kathleen Kim, Special Guest Artist

Ever since Kathleen Kim’s acclaimed 2007 debut at the Metropolitan Opera as Barbarina in Le nozze di Figaro, followed by Oscar in Un ballo in maschera and Marie (cover) in La Fille du régiment, this young Korean-American coloratura soprano has been engaged by many of the world’s most important opera houses. The 2009–2010 season offers her biggest roles yet at the Met with Zerbinetta in Ariadne auf Naxos, Olympia in Les Contes d’Hoffman, and a return as Papagena in Die Zauberflöte. She also makes her debut at Atlanta Opera as the Queen of the Night in Die Zauberflöte. Other engagements include Armida in Rinaldo at Central City Opera (Denver) and her first Carmina Burana with the Springfield Symphony Orchestra.

During the 2008–2009 season, Ms. Kim made her debut with Minnesota Opera in Die Entführung aus dem Serail. Her European debut followed at Bilbao Opera as Marie in La Fille du régiment. At the Met, she returned as Papagena in Die Zauberflöte and in Rusalka.

During her recent apprenticeship at the Lyric Opera of Chicago’s Ryan Opera Center, Ms. Kim appeared as Adele in Die Fledermaus, the Page in Rigoletto, the Milliner in Der Rosenkavalier, and Frasquita in Carmen.

Ms. Kim has won numerous prizes and awards, including a 2006 Sullivan Foundation award, a Sarasota Opera Guild’s Leo Rogers Scholarship, and the Rose Ann Grundman Scholarship of the Union League Civic & Arts Foundation in Chicago. She was also third-prize winner of the Mario Lanza Vocal Competition, a National Finalist of the MacAllister Awards, and a prize winner of the Liederkranz Competition.

Ms. Kim received her bachelor’s and master’s degrees from Manhattan School of Music.