Tempo is printed annually by Duquesne University’s Mary Pappert School of Music In This Issue... The Mary Pappert School of Music

Duquesne University’s Mary Pappert School of Music is a national leader in performance, music education, music therapy, music technology and sacred music. At Duquesne we serve God by serving students and therefore do our utmost to ensure that students benefit from Quadratomic Reprise...... pg. 8 the finest teachers and the best academic resources. Among the dedicated teachers and scholars who make up the faculty of the Music School are members of the world- renowned Pittsburgh Symphony as well as other artists who are acclaimed performers of opera, jazz and sacred music. Our students have access to state- of-the-art music technology and other learning resources, including 68 Steinway Pappert Center Dedication...... pg. 12 pianos. Duquesne is, in fact, the first Catholic University in the world to be numbered among an elite group of “All- Steinway” schools. The School of Music is also home to two first-rate concert venues: PNC Recital Hall, a 260-seat auditorium, and the recently constructed Thomas D. Pappert Center for Performance and Innovation, an acoustically superb and technologically sophisticated space for recording and performing. Robert Cameron’s Quarter Century...... pg. 22

Learn more at www.duq.edu/music.

Contact the editors Also... of Tempo: News and Notes...... pg. 1 412.396.6080 [email protected] Christine Jordanoff Celebrates 25 Years...... pg. 3 Keys of Distinction...... pg. 4 The Mary Pappert School of Music Not Fiddling Around...... pg. 6 Duquesne University 600 Forbes Avenue Tempo Interviews Dean Edward Kocher...... pg. 16 Pittsburgh, PA 15282 All for a Song...... pg. 18 Live Lobby Music...... pg. 20 Opera in the Aisles...... pg. 21 One to Watch—Anthony Rankin...... pg. 24 “Degenerate” Music Recital...... pg. 25

Mary Pappert School of Music winter 2011

AND NewsNotes Major Grant and materials for local preschools. two days in November 2010. Her goal is to connect the fields of Her visit included two master Funds Recital Hall music education and early childhood classes, one for composers and one Renovation education, so that teachers feel on coaching contemporary ensembles, comfortable incorporating musical as well as a lecture delivered to all A PNC Foundation grant of activities into everyday instruction. music students. Tower, the winner $600,000 will help to renovate PNC Whitcomb is developing lesson of a Grammy Award, is a member of Recital Hall. The School of Music plans and selecting six local the American Academy of Arts and will use the majority of the grant for preschools in need of music programs. Letters and is the Pittsburgh Symphony improving the audience experience She will also train six undergraduate Orchestra’s Composer of the Year for in the 260-seat hall, including new music education majors to teach in the 2010–11 season. seating, fresh paint and new carpeting. the designated schools during the The PNC Recital Hall lobby will spring 2011 semester. Next summer, also receive improvements, including the School of Music will offer a Sean Jones Teams repainting and the installation of new professional development conference carpet, bulkheads, lighting, acoustic for Pittsburgh preschool teachers up with Herbie wall panels, wall coverings and wood interested in incorporating the lesson Hancock trim. In addition, a kitchen area will plans into their programs. be added, and the restrooms will be Herbie Hancock, one of our era’s completely remodeled. most influential jazz piano masters, Composer Joan has selected trumpeter Sean Jones, a member of the Jazz Studies faculty, Early Childhood Tower Visits to perform the music of Miles Davis in an upcoming review in the summer Joan Tower, one of the nation’s Music Initiative of 2011. Jones and bassist Marcus preeminent composers of orchestral, Miller will join Hancock and composer A PNC Foundation Grow Up Great chamber and instrumental music, and saxophonist Wayne Shorter as grant is helping Dr. Rachel Whitcomb and an accomplished conductor and the group re-imagines the music of create user-friendly music lessons pianist, visited the School of Music for

Opryland Hotel orchestra includes alumni

Three alumni of the Music School were in the orchestra when Nashville’s Opryland Hotel held its three-day, grand reopening in November 2010. Pictured during dress rehearsal, the three are (from the left) trombonist Gary Miller and trumpeters Alan Suska and Bill Laarz. The landmark hotel had been closed after record floods in the spring left much of the city under water.

www.duq.edu/music 1 trumpeter Miles at the spring 2010 School of Music Dr. Sally Stone Davis. Both graduation ceremony. To commemorate Hancock and the occasion, faculty colleagues Worsing Leaves a Shorter performed performed Gratitude, a commissioned with Miles Davis work composed by Mike Tomaro, chair Legacy in Music ensembles in the of Jazz Studies. late 1960s, a time Education that many jazz critics believe was New Graduate r. Sally Stone Worsing, founding Davis’ most creative period. Ddirector of the City Music Center The review, organized to mark the Chamber Ensembles at Duquesne University, died Nov. 26 20th anniversary of the death of Miles Two new chamber ensembles— in her Penn Hills home after battling Davis, is slated for appearances at the Triano Woodwind Quintet and lung cancer. select European venues, including the Francis DeBroff String Quartet—will Worsing, 70, a classically trained North Sea Jazz Festival (Netherlands), provide graduate-level scholarship pianist devoted to music education, the Umbria Jazz Festival (Italy) and the opportunities for qualified students facilitated more than 1,500 children Vitoria Jazz Festival (Spain). who are focusing on a career in musical and adults studying music at the City performance. Music Center, which she started in Students selected for the groups 1989. The center, which currently has Music School can receive full tuition remission and about 250 students ranging from ages Concerts Air on will serve as ambassadors for the 3 to 60, provides group classes as University and the Mary Pappert School well as individual lessons and recital WDSR of Music. opportunities. It became one of only 22 The School of Music Student community music schools accredited Showcase, two hours of programming by the National Association featuring performances by School of H. Robert Reynolds of Schools of Music, and her Music ensembles, can be heard each Awarded Honorary fundraising efforts helped to provide week on WDSR, Duquesne University’s disadvantaged students with student-operated Internet radio station. Doctorate scholarships so that music would be The show airs Fridays, 1–3 p.m. To Duquesne University awarded available to all who wanted to learn. listen, visit www.wdsr.org and click an honorary doctorate to Professor A graduate of Carnegie Mellon the “Listen Now!” tab. Performances H. Robert Reynolds, a nationally University and the University of are prerecorded but the show is a live renowned wind ensemble conductor Pittsburgh, Worsing also had run broadcast from College Hall. and educator, at the May 2010 Music a music program for children at School commencement ceremony. Carnegie Mellon and taught at St. Reynolds is currently the H. Robert Edmund’s Academy, Shady Lane Doc Wilson Reynolds professor of wind conducting School and the Western Pennsylvania Awarded Emeritus at the University of Southern California School for the Deaf before coming to Thornton School of Music and has Duquesne. Status been a frequent guest conductor at “For 21 years, Sally Worsing gave Duquesne. inspired and passionate leadership to Dr. John “Doc” the City Music Center at Duquesne Wilson, a member University,” said Dean Edward Kocher of the Music of Duquesne’s Mary Pappert School School faulty of Music. “Sally’s love of music and since 1972, was children brought a lot of beauty and awarded the rank of goodness to the youth and families of Professor Emeritus our region. We will miss her.”

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Christine Jordanoff Celebrates Twenty-Five Years with Children’s Chorus

n 2011, Christine Jordanoff, professor of music education and director of choral organizations, is celebrating her twenty-fifth season as Idirector of the Children’s Festival Chorus (CFC). Leading a children’s chorus was a long-standing dream for Jordanoff, work closely with the children in the even before 1973 when she became chorus, an opportunity to validate and a member of the Duquesne faculty. demonstrate teaching techniques and It was 12 years later that a colleague a course offering unique in the state, connected her with the CFC, then in according to Jordanoff. need of a director. Jordanoff can point out many A few months afterward, Jordanoff successes in her 25 years with the became the group’s director, and CFC CFC, including repeated requests to became an ensemble-in-residence at supply the chorus for concerts and Duquesne. Under Jordanoff’s direction, opera productions. This spring, for the CFC began attracting funding example, children from the CFC will and landing singing engagements. In perform in the Pittsburgh Opera’s 1987, they performed successfully production of Turandot. The chorus in a Pittsburgh Opera production, has also been selected several times the acid test of preparedness and over the years, by audition, to perform professionalism, according to Jordanoff. at music educator’s conventions. Since then, Jordanoff has developed But for Jordanoff, perhaps the the CFC into a cultural and educational most convincing proof of success is asset for the city and for Duquesne. that alumni of the CFC are sending ...perhaps the Today, the CFC has approximately 150 children to audition for the chorus, a singers, most between the ages of 8 and most convincing sign of stability that spans generations. 15, divided into three groups according Some CFC alumni have also gone on to ability. It employs six people, three of proof of success is to successful careers in music, and by them full time, and performs an average Jordanoff’s estimate several hundred that alumni of the of 15 concerts each year. CFC alumni have become alumni of Because it is an ensemble-in- CFC are sending Duquesne. residence, the CFC enjoys a relationship “It was providential,” Jordanoff says children to audition with the University that benefits the of her 25 years with the CFC, “and young performers, and in return, the for the chorus... it was probably the most important CFC wins fans when they perform, professional move that ever happened which brings visibility and prestige to in my life.” Duquesne. In addition, music education majors

can enroll in Children’s Choir Lab to

www.duq.edu/music 3 Keys

Sr. Carole Riley, David Allen Wehr and Kenneth Burky (seated)

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ike the piano’s 88 keys, that the piano program is not only which work in harmony to unique for its breadth, but it also attracts make music, the members international attention for its depth. of the Piano Department For Burky, the range and expertise combine their talents, of the faculty really pay off because creating a synergy that helps students they collaborate so well. “We have a Tony DiVittorio L develop into skilled professionals. unique environment where we all work A broad spectrum of educational together and respect each other’s backgrounds, professional approaches talent,” said Burky. and interests enables the piano faculty Through dialogue and cooperation, to identify and nurture the artistic the faculty decides the academic identity of every student. direction of the department—a type of “We are lucky to have professors collegiality that Sister Riley, professor who are not only tremendous and director of graduate studies, performers, but have diverse talent and believes is special about the Music are wonderful teachers,” said Kenneth School. “We show by our example that Burky, piano department chair and when we support each other, we all director of undergraduate studies. win,” Riley explained. “While Sister Carole [Riley] teaches Approximately 10 years ago, Natasha Snitkovsky the relevance of professional conduct members of the piano faculty traveled of Distinction Piano Department Thrives Through Diversity, Cooperation

and brings the service-learning with Dean Edward Kocher to New York component, David Allen Wehr does City to select Steinway pianos for the a phenomenal job with performance department—a purchase that marked a majors,” Burky explained. significant advancement for the school Two highly talented adjunct and the Piano Department. professors, Anoush Tchakarian and With this purchase, the Mary Natasha Snitkovsky, both trained at Pappert School of Music moved to a European conservatories, expose piano higher level of prestige, becoming an students to international perspectives All-Steinway school—a status shared and technique. The department’s by only a few institutions. “Being strengths extend beyond classical an All-Steinway School shows our piano through other adjunct faculty: commitment to quality,” Wehr said. “It Anoush Tchakarian Rebecca Rollet attracts students shows our willingness to commit our concentrating in harpsichord, Tony resources to have the best instruments DiVittorio works with piano majors in the world.” interested in contemporary music and Having the world’s finest Ron Bickel teaches jazz piano. instruments and a diverse, highly “Our faculty represents a variety accomplished faculty underscores the of approaches, performing and piano’s department commitment to pedagogical,” said David Allen provide a superior education to their Wehr, professor and Jack W. Geltz students. Distinguished Piano Chair. He added

Ron Bickel www.duq.edu/music 5 Not Fiddling Around Alumnus Ryan Joseph Finds a Home in Country

lumnus Ryan Joseph has been performing since he was a toddler, and there is a good chance you have heard “...he honed Ahim even if you don’t know his name. A sought-after fiddle player, Joseph his technique can be heard singing and playing on hundreds of tracks on country music dramatically, recordings. He got his start with a family learning very polka band, and soon expanded his repertoire. When only 10 years old quickly.” he played for renowned fiddler Mark O’Connor, and at the age of 11 he appeared on the Live with Regis and Kathy Lee television program. “A little timid and soft spoken,” is how Rachel Stegeman, adjunct professor of violin, remembers Joseph in his first year at the Music School, but his positive outlook and eagerness to become a better violinist quickly earned her respect. Her spouse, Charles Stegeman, the chair of strings and an associate professor of violin, taught Joseph for five years. “His God-given gift was evident early on, but here he honed his technique dramatically, learning very quickly,” Charles Stegeman said. Joseph credits his time at Duquesne for making him a well-rounded musician. “My instructors not only taught me the techniques required to be a professional musician, they also set an example for the business sense you must have when being a full-time musician,” he said. Even before graduating from the Mary Pappert School of Music in 2006 with a Bachelor of Science in Music Education, Joseph was experiencing success. His family’s polka band had been nominated for a Grammy, and

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Teaching the musical leaders of the 21st century he was sharing the stage with some of Rachel Stegeman country music’s big names, opening shows for, or accompanying, the likes Adjunct Professor of Violin of Bill Anderson, Brooks and Dunn, Wynonna Judd, Little Big Town, Martina In a number of ways, Ryan Joseph’s career McBride, Jo Dee Messina, John trajectory mirrors that of Rachel Stegeman, one of Michael Montgomery, Montgomery his teachers at the Mary Pappert School of Music. Gentry, Jimmy C. Newman, Boots Aside from being an adjunct professor of violin, Randolph, Blake Shelton, Phil Vassar, Stegeman is an in-demand studio musician. She Steve Wariner, and many others. has recorded with pop groups and performed on over 1,000 commercial projects, including on soundtracks for television and films, playing everything from classical “He had a dream orchestral and chamber music to jazz, R&B and heavy metal. Stegemen serves as the concertmaster of the Wheeling Symphony and he pursued it.” Orchestra and associate concertmaster of both the Pittsburgh Ballet Orchestra and the Pittsburgh Opera. She is also the principal violin of Hollywood Bowl Orchestra in Los Angeles. Since moving to Nashville in May She performs regularly at chamber music festivals, including the 2007 Joseph has played and sung with Sunflower Music Festival, Buzzard’s Bay MusicFest and the St. Barth’s country music stars Helen Cornelius, Music Festival. She holds both bachelor’s and master’s degrees in music Vince Gill, Amy Grant, Jan Howard, from Duquesne University. Her teachers include Luis Haza, William Steck, Hal Ketchum and Jeannie Seely. He Robert Lipsett and Sidney Harth. has also performed on the Academy of Country Music Awards and Grand Teaching the musical leaders of the 21st century ‘Ole Opry television broadcasts as well as on Good Morning America and the Charles Stegeman Tonight Show with Jay Leno. Associate Professor and Chair of Strings Fortunately, Joseph did not have to choose a single career pursuit; he’s Canadian-born violinist Charles Stegeman currently performing, teaching and is now in his third decade as a teacher. Former recording. “He had a dream and he students of his hold music professorships around pursued it,” Charles Stegeman said, the country and have performed with renowned adding that right now Joseph is “at a orchestras. place where he can do it all. He has the Stegeman made his recital debut at age 7 best of all worlds.” and debuted as soloist with the Banff Festival Joseph is the concertmaster of Orchestra at age 9 in Alberta, Canada. He was awarded a scholarship to the orchestra at Belmont University in the Curtis Institute of Music at the early age of 13 where he earned his Nashville, where he also serves as an bachelor’s degree. His resumé also includes academic coursework at adjunct faculty member. In addition to Haverford College and graduate study at the Juilliard School. launching his solo career and working Stegeman is concertmaster of the Pittsburgh Opera, the Pittsburgh as a studio musician, he has been Ballet Theatre and the New West Symphony Orchestra in Thousand Oaks, touring with Jamie O’Neal and Mercury Ca. In addition, he performs approximately 75 concerts each year in North Recording artist Laura Bell Bundy. America, Europe, Asia, Latin America and the Caribbean as concertmaster, About her former student who once chamber musician, and soloist. He has founded several music festivals, performed Jimmy Hendrix’s Purple including the Western Slope Music Festival (Crested Butte, Co.), the Haze with his string quartet in her Sunflower Music Festival (Topeka, Kan.), Buzzards Bay Music Festival living room, Rachel Stegeman said, “I (Cape Cod, Mass.) and Music Fest Midwest (Kansas City, Kan.). He has also couldn’t be happier for him. I am his fan served as concertmaster at international festivals, such as the St. Bart’s on Facebook.” Music Festival in the French West Indies and the FEMUSC Festival in Brazil. He plays a 1776 Nicolo Gagliano violin.

www.duq.edu/music 7 uadratomic Q Award-winning saxophone ensemble Reprise prepares for the next act

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he Quadratomic Saxophone and Gao is enrolled in the DMA Quartet, an award-winning performance program at the University student chamber group of North Carolina, Greensboro. Hall, formed last year at the Mary who graduated in May with a Master PappertT School of Music, is taking an of Music in Saxophone Performance, unusual step—staying together after returned to the Bluff as an adjunct graduation. faculty member. Di Mauro is a Music The quartet, made up of Xin Gao, School senior. soprano saxophone, Sean Dynan, Usually, that kind of after-graduation alto, and Colette Hall and Devin Di breakup would permanently silence a Mauro, tenor and baritone respectively, formed early in the 2009 fall semester ...they are committed to and soon hit full stride. In April 2010, they brought home one of only three one another as people, prizes from the Coleman Competition, not simply as musicians, a well-regarded showcase for student chamber ensembles held annually in and that makes the California, and because the other two group unusual.

Devin Di Mauro Sean Dynan Xin Gao Colette Hall

winning ensembles were from Eastman student ensemble, but the members and Yale, the feeling of accomplishment of Quadratomic saw themselves as was indeed noteworthy. more than four players performing at a One month later, three of the four high level. They point out that they are made the transition from student to committed to one another as people, alumnus, and two of those three left not simply as musicians, and that Pennsylvania for graduate study in makes the group unusual. other states: Dynan attends Peabody “We got extremely lucky,” Hall said, Institute, where he is pursuing a commenting on the long odds that master’s degree in performance musicians will work well together on

www.duq.edu/music 9 Teaching the musical leaders of the 21st century James Houlik

Professor of Saxophone, Co-Chair of Performance, Chair of Woodwinds

With landmark performances on every continent except Antarctica, four decades of inspired teaching and tireless effort to build the saxophone repertoire, James Houlik has taken his instrument to new heights. Houlik studied privately and at the Eastman School of Music with Sigurd Rascher, the German-born alto saxophone pioneer. Rascher, impressed with Houlik’s affinity for the tenor, encouraged him to pursue that instrument as his personal voice. Houlik also credits Rascher for convincing him that it was possible to perform while teaching and teach while performing. Houlik built a large and successful saxophone program at East Carolina University. In subsequent years, he became the founding professor of Saxophone study at the North Carolina School of the Arts, before coming to Duquesne. and off stage. “This does not happen very easily anywhere.” Like Rascher, Houlik inspires composers to write for the She added that much of the credit for Quadratomic’s success saxophone. Among the pieces written for him are concerti belongs to Music School faculty members James Houlik and by Robert Ward, Morton Gould, David Ott, Sherwood Stephen Pollock. Shaffer, Eric Ewazen, Walter S. Hartley, Russell Peck, Paul As top players, the four had performed together from time Harvey and Vache Sharafyan, as well as dozens of other to time in the Wind Symphony and other ensembles. Houlik works with band, piano and chamber ensembles. and Pollock, however, forged the four into a working unit and Houlik’s American Saxophone CD (Koch International quickly noticed that Quadratomic’s chemistry was special, Classics), recorded with the London Symphony Orchestra, musically and interpersonally. contains three works—The Upward Stream, by Russell Peck, Diversions by Pulitzer Prize-winning composer Morton Gould and Concerto for Saxophone and Orchestra One of the group’s goals will be to follow by Robert Ward—that are among the many pieces of music penned with him in mind. the example of Pollock and Houlik, both of whom epitomize the ideal of the performer as a teacher...

Houlik, professor of saxophone, co-chair of performance and chair of woodwinds, had taught each of the four in private lessons during their studies at Duquesne. He was also directly responsible for recruiting Dynan and Di Mauro as well as Gao, who found his way to the Bluff after taking in a Houlik performance at his conservatory in Szechuan province, China. Pollock, adjunct professor of saxophone, served as the group’s coach and has made the transition to the role of advisor for Quadratomic’s post-Duquesne phase. As a founding member and tenor saxophonist for the New Century Saxophone

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Quartet, one of the world’s premier saxophone ensembles, he brings nearly 30 years of experience to the task. One of the group’s goals will be to follow the example of Pollock and Houlik, both of whom epitomize the ideal of the performer as a teacher. Quadratomic also hopes to educate through art. To do so they intend to play traditional concerts as well as perform educational and community outreach. Someday they would like to find a home at a music school as an ensemble-in-residence. They hope that their performances can find new audiences for the saxophone, in effect enhancing their instrument’s reputation in chamber music along with their own, ultimately earning the same respect for saxophone chamber groups that is currently enjoyed by string quartets. Teaching the musical leaders of the 21st century As for the possibility of landing a residency despite the entrenchment of the common (read: non-saxophone) Stephen Pollock ensemble configurations, they are hopeful. To prove the Adjunct Professor of Saxophone reasonableness of that optimism they pointed out that over the last two decades in major chamber music competitions Stephen Pollock received his bachelor and master of there have only been one or two saxophone ensembles that music degrees from the North Carolina School of the Arts, earned major prizes, yet at last year’s Coleman Competition where he studied with James Houlik. the two major prizes (one for chamber ensemble and one for A tenor saxophonist, Pollock is a founding member woodwinds) were both won by saxophone quartets of the New Century Saxophone Quartet, which has As Dynan said, “I really do feel that the saxophone is been responsible, through commissioning projects and starting to take over the world.” the music chosen for its concerts and recordings, for a significant broadening of the repertoire for saxophone quartets. New Century performs music ranging from the Baroque to innovative contemporary works to imaginative transcriptions, and covers genres from Classical to contemporary music with funk and jazz influences. Pollock has performed as principal saxophonist with the Western Piedmont, Salisbury, Winston-Salem, Greensboro, Charlotte, North Carolina, Charleston South Carolina and the Tanglewood Massachusetts Festival symphonies. As a solo recitalist he has been heard throughout the United States, including performances at Wake Forest University, the Hartt School of Music of the University of Hartford, the University of Michigan, the University of South Carolina, Samford University in Birmingham, Louisiana State University, University of Memphis, Florida State University, University of Florida and the Cleveland Institute of Music. He has also appeared with entertainers such as Steve Allen, Helen Reddy, Marvin Hamlisch, Boots Randolph and Natalie Cole. In the summers, he is the coordinator for the James Houlik Saxophone Retreat at Wildacres in Little Switzerland, N.C. Pollock is committed to increasing the solo literature for the tenor saxophone and has commissioned several works from a number of composers, including Sherwood Shaffer, David Ott, Thomas Massella, Steven Jones and Glenn Haynes.

www.duq.edu/music 11 The Dr. Thomas D. Pappert Center for Performance and Innovation A Cutting-Edge Performance, Recording and Rehearsal Space

The Pappert Center opened formally with a ribbon cutting on October 2, 2010. The ceremony included a world-premiere performance by the Voices of Spirit of Still Point, by Lynn Emberg Purse, associate professor of music technology.

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Below: Evening festivities included a reception and jazz concert, One More Time for Nick, featuring performances by faculty members (from left) Joe Negri, Maureen Budway, Mike Tomaro and Sean Jones. Proceeds from the event benefited the Nicholas Jordanoff Jazz Trumpet Scholarship. The Dr. Thomas D. Pappert Center for Performance and Innovation

n October 2010, after years custom made panels suspended from of planning and months the ceiling and sound diffusers lining of construction, the Music the walls. Curved storage-closet doors School unveiled the new Dr. serve to further improve sound clarity, Thomas D. Pappert Center for and carefully chosen construction IPerformance and Innovation, a cutting- materials block outside noise. edge, acoustically ideal space for Instead of a raised stage, which performance, recording and rehearsal. would limit open space, roughly one- The Pappert Center incorporates third of the Pappert Center’s floor is visionary thinking in sonic engineering finished in hardwood, a “stage” that and is equipped with the latest can expand or recede as needed and audiovisual and recording technology. which can complement a wide variety The project started with the demolition of flexible seating arrangements. of Room 322, a large, acoustically Theatrical lighting and a high-tech problematic area just off the Music audiovisual system, including a School lobby, which had previously 16-foot video projection screen and served for 50 years as a classroom, surround-sound audio, complete the rehearsal hall and makeshift transformation from a rehearsal space performance venue. to a performance venue that can seat In its place arose a large (5,000 over 150 people. The Pappert Center square feet) elegant space with a also has a greenroom for waiting variety of unique architectural features performers. that enhance acoustics, such as

www.duq.edu/music 13 Technical Features

Multimedia Presentation The centerpiece of the Pappert Center’s performance capabilities is a system that enables “The engineers and seamless streaming of digital media from a variety of sources, while permitting the complete experience other professionals to be controlled from the podium or remotely with a touch-screen panel. who have seen it, their jaws drop...”

Before the construction of the Pappert Center, creating professional-quality recordings had to be completed at off-campus facilities. Now, in the adjacent Schrecengost Mulitmedia Studio, presentations and performances can be captured digitally in high definition video and audio. The captures can be used for creating a DVD or CD, or for streaming broadcasts for television, radio or the Internet. “The engineers and other professionals who have seen it, their jaws drop,” said Dean Edward Kocher about the

Sound Reinforcement The front-of-house sound reinforcement is focused around speakers formatted with digital theatre surround-sound capabilities. This system gives listeners an authentic movie theatre experience.

Features for the Hearing Impaired The Pappert Center is equipped with an assisted listening system that provides outstanding audio quality for the hearing impaired, or language interpretation for multilingual presentations.

Live Digital Capture The Pappert Center has digital video capabilities consistent with a world-class soundstage. Up to seven high-definition, remote-controlled digital camera locations are capable of capturing every aspect of a performance on the soundstage. In addition, sound from up to 64 microphones can be captured and distributed in both digital and analog formats.

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Technical Features

Mastering Suite The mastering suite provides a critical-listening environment with the latest recording technology. Here, audio engineers and students in the music technology program blend and perfect the sound of CD, DVD or streaming audio and video presentations. The heart of the mastering suite is a console for digital mixing. Each of the console’s 48 channels has its own four-band digital equalization as well as dynamic signal processing for high levels of sonic control. High-tech workstations, equipped with the latest hardware and software, provide space in the mastering suite for storage and manipulation of sound and video files.

Center. “As far as we can tell, the Pappert Center is the most advanced and fully equipped large space of its kind in the city. Creating it has been a lifelong dream for our performance and music technology folks.” “I have been teaching music full-time since 1972,” said Kocher, now in his 11th year at Duquesne. “In terms of any sort of facilities or physical space, the Pappert Center is really the highlight of my musical life. It’s wonderful.”

Schrecengost Multimedia Studio The William M. Schrecengost Multimedia Studio “...the Pappert Center is capable of receiving digital media streams from both the performance stage and remote locations. These can then be captured for subsequent post- is the most advanced production, or streamed for television, radio or the Internet. and fully equipped The studio has two state-of-the-art digital consoles capable of producing professional quality large space of its kind audio and video recordings as well as equipment that provides dynamic control over cameras in the performance area, a feature that makes it possible to in the city.” capture or stream multi-camera video presentations.

The William M. Schrecengost Multimedia Studio was created with a generous equipment donation from the Schrecengost family.

www.duq.edu/music 15 Tempo Interviews Dean Edward Kocher

n this interview Dean Edward How would you describe the Music Kocher offers some thoughts School right now? on the Mary Pappert School of Music’s future and addresses a At present, we are experiencing Iperennial music education question— many positive trends. In particular, what knowledge and skills are most we enjoy a robust enrollment of important and why? talented, intelligent and motivated students. We’re attracting that type of In your opinion, what are the student because we can offer diverse hallmarks of the best music baccalaureate degree programs education? along with graduate programs that include online options. The University I earned a baccalaureate degree in enthusiastically supports our programs, music education 40 years ago, and that and graduates and friends of the school learning experience not only launched are stepping forward in helpful ways to my career, it inspired a habit of lifelong ensure that we continue to thrive in the learning as well as the ability to years ahead. anticipate and respond to change. For Much credit for our successes me, a challenging liberal arts education, belongs to the members of the faculty, exceptional applied music lessons, a who are energetically devoted to giving thorough grounding in musicianship, our students a high quality education. speak with unbridled enthusiasm about relevant ensemble experiences and This year in Tempo, we honor the the Mary Pappert School of Music. high quality specialized courses in leadership and superior music making For the record, the support staff at our music education have stood the test of of a number of faculty members, school functions at a level of excellence time and then some. including Professors Christine and dedication that is unsurpassed. In talking with people from Jordanoff and Robert Cameron, each I should also point out that good my generation as well as younger of whom is celebrating a 25-year things are happening here because musicians who are alumni, there is anniversary. of teamwork. The newly dedicated no doubt that a music degree from We also have a support staff that Dr. Thomas D. Pappert Center for Duquesne has been invaluable for well deserves our thanks for their Performance and Innovation is a generations of professional musicians. professionalism. I am honored to serve superb example of vision, cooperation, We believe that’s because we have as a visiting accreditation evaluator collaboration and hard work from our provided those same foundational and a commissioner for accreditation donors, the University administration, elements—a challenging liberal arts for the National Association of Schools the music technology faculty, our curriculum, high quality applied of Music, and in the role of visiting support staff and the students. In the music courses, formative ensemble evaluator, I have been to dozens of Pappert Center we now have superb experiences, rigorous musicianship campuses throughout the nation. technological capabilities that will allow requirements and superior specialized Although I’m prohibited from disclosing us to excel in new ways, which points courses in the major. information about other programs, I can toward our very promising future.

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Can you offer some thoughts on the an important factor in appealing to knowledge and abilities to enter, future of the Music School? prospective students. function and mature in a dynamically Despite those challenges, the evolving field. In a sense, this means Because we know that young quality of our faculty assures me that that we must prepare students to be children are continuing to study music, we will thrive in the future. During ready for challenges that cannot be we feel optimism about the future of the past decade we have heard fully anticipated. A well educated the Music School. Our campus-based members of the faculty in scintillating musician will have knowledge of liberal programs for youth, the Children’s performances of Beethoven’s 32 piano arts, performance, musicianship and a Festival Chorus and City Music Center, sonatas, the complete instrumental specialized major area in depth. With are enjoying strong enrollments. It also chamber music of Johannes Brahms, that foundation in mind it is easier to appears that music education remains French chamber music par excellence understand what long term attributes important in schools in our region and and a number of stunning jazz are most worthwhile for a young beyond, so there is every reason to performances. Our ensembles are musician—critical thinking, problem think that interest in music as a career also making their mark. The choral solving, communication and teamwork. choice will continue, too. organizations perform well-attended These are skills that make creativity and That being said, we feel how deeply outreach concerts at St. Paul Cathedral innovation possible. At Duquesne, as the international financial crisis has and St. Mary’s of the Mount, and all we serve God by serving students, we affected families. Everyone in higher of the large ensembles regularly give are working diligently to create powerful education is concerned that tuition and superb performances on campus learning experiences that cultivate and other cost increases are felt even more as well as at regional, national and foster lifetime learning and passionate deeply because of diminished family international venues. music making. financial resources. In the coming Our primary curricular challenge years, we hope to be able to reduce remains the same as it has always student loan liabilities, which will be been: to help students gain the

Support the School of Music

The Mary Pappert School of Music offers many opportunities for your generosity to make a real difference Nicholas Jordanoff Jazz Trumpet Scholarship for the next generation of great musicians: Throughout his long career at Duquesne, former Deans Discretionary Fund Director of Music Admissions Nicholas Jordanoff Music Performance Fund helped generations of students achieve their Music Education Fund dreams, befriended countless alumni and on a daily Music Technology Fund basis inspired the staff. For these reasons we have Music Therapy Fund instituted the Nicholas Jordanoff Jazz Trumpet Sacred Music Fund Scholarship. Nick spent most of his career helping Music Composition Fund deserving students obtain scholarships, and to have Music Scholarship Fund a scholarship named for him, designated for the Music School Endowment instrument he loved to play, is a fitting tribute. Nicholas Jordanoff Jazz Trumpet Scholarship

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The Mary Pappert School of Music • Duquesne University • 600 Forbes Avenue • Pittsburgh, PA 15282 Your donation is tax-deductible. To learn more about giving, call Carrie Collins at 412.396.4272.

www.duq.edu/music 17 ssistant Professor of Musicianship Benjamin Binder believes that art song is misunderstood. Often sung in a foreign languageA with lyrics drawn from poetry and accompanied in a Spartan fashion by a lone pianist, art song can seem stilted or esoteric to some listeners— even to classical music lovers. But Binder, a musicologist and performer with a passion for the music of the nineteenth-century Romantics, particularly the German Romantics, is working diligently to change those perceptions. He is the founder of the Pittsburgh Song Collaborative, a group of musicians that is presenting art song for twenty-first century audiences. To those who might say that art All for a Song song is a remnant of the Romantic era, Binder points out that song is a fundamental, universal musical experience, and art song is simply the classical version of that. However, it is not simply the music that Binder and the Song Collaborative are attempting to recreate. They aim to recreate the experience of art song. He explained that the Collaborative not only organizes musical events where song is central but where the barriers to intimacy posed by stages and stagecraft simply do not exist. This means that audience members will hear art song the way it was meant to be.

Left: Benjamin Binder. On the piano is a copy of the first published edition of Robert Schumann’s song cycle Myrthen, op. 25, dating from 1840, the year of the cycle’s composition. It is the only edition to include Schumann’s specific dedication to his bride- to-be, Clara Wieck.

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At its genesis in the nineteenth with international stage credits, sang visual artists. He believes that that century, art song was commonly with Binder accompanying him. kind of creative teamwork will help performed in homes, perhaps the The program included a selection performers invigorate well-known homes of wealthy patrons, or the of Schumann songs performed by works, allowing them to make them homes of the artists themselves. That soprano Shannon Kessler-Dooley, their own. was a setting where food and drink a resident artist with the Pittsburgh “I think it is always important to keep might be enjoyed, and conversation, Opera, and baritone Daniel Teadt. engaging creatively with the tradition,” sometimes between the audience and Dichterliebe was an attempt by the Binder said. “That continual creative the performer, was not only possible Collaborative to bring Schumann’s engagement forms an extra enticement but was common. Such a setting world into ours. All the ingredients of for audiences, who are often eager to enabled the audience to have a shared, an art song performance in the days experience something new.” intimate experience of the performance, of Schumann and the other Romantics Binder’s other scholarly project and in such a setting art song could were there, especially the give-and- involves a similar re-engagement have real power. take with a relaxed and receptive with a standard piece of repertoire, a “There is a passionate audience in audience. It also had something that reworking of Schumann’s Carnaval, a Pittsburgh that is waiting to be turned made it unlike a Romantic-era soirée— musical evocation of a masked ball. on to this,” Binder explained, adding photography created especially for the Binder commissioned 14 contemporary All for a Song that “we certainly have a passionate composers to re-imagine the work’s audience that is loyal to the symphony, “I think it is always 22 movements as entirely new music, the opera and chamber music, but important to keep modern analogs to Schumann’s what we don’t have in Pittsburgh that originals. Binder plans to perform we do have in other cities with strong engaging creatively and record the new works alongside cultural traditions of high art is song.” Schumann’s original over the next The School of Music has with the tradition.” several years. provided funding as well as The Carnaval project, like the Song administrative support to help launch event by Tom Persinger. Collaborative, bridges a gulf created the Collaborative, a loosely knit The melding of art song with other by academic specialization that divides association of musicians with Binder art forms, Binder hopes, will become the activity of performance from the as artistic director and, for now, the a Collaborative hallmark. In May technical and historical scholarship of principal accompanist. The group’s 2011, their second public concert, for the musicologist. adaptability extends to the choice of example, will be organized in tandem “During my whole career, I’ve venues, and ideally the Collaborative with the Carnegie Museum of Art. It been pulled between performance will stage concerts where the room will take place at Carnegie Music Hall and musicology,” Binder said. “The suits the program. in Oakland, and a gallery tour will culture of music as it exists today Their first public event, Visions of a precede the concert, which will be is very specialized—one is either a Poet’s Love: Schumann’s Dichterliebe, heard as images of selected artworks performer, or a teacher, or some kind of took place on November 18, 2010, in are projected onto the stage. musicologist. To me it is all one thing.” the Pittsburgh Opera building in the Binder is open to collaborations Strip District. Troy Cook, a baritone involving actors, dancers, writers or

www.duq.edu/music 19 Live Lobby Music Alumna creates hospital performance program at hospital

unique community service idea for Live Lobby Music from her of the Duquesne University campus, opportunity developed by experience as a volunteer at Magee literally one block from the Music a Music School alumna Women’s Hospital. Every other week School’s back door, a location that allows students to offer for three years when she was a makes Live Lobby Music ideal for their talent without taking student, she performed voluntarily on students. Most of the volunteers, more theirA instruments far. viola and piano in the lobby. than 100 of them since Live Lobby The program, which is called Live She saw the opportunity for Music’s inception, have been students, Lobby Music, arranges for students to volunteer performers to donate their but alumni are starting to share their perform at UPMC Mercy Hospital. It time in a way that could provide joy talent in the program. is the brainchild of Gretchen Chardos for the patients, visitors and staff of According to Benner, the musician Benner, MT-BC, (Music Therapist- UPMC Mercy. She outlined the idea to volunteers are motivated to share their Board Certified), and has been in place hospital administrators, who approved talent for its own sake, but many also since April 2009. her plan, and within 30 days of use the opportunity to gain experience Benner, who graduated in May suggesting the program, Benner had performing or to fulfill service-learning 2007 from the Music School with a the first performers lined up, and Live requirements for course work. double major—music therapy and Lobby Music was under way. Guitarist Matthew Pena, who has music performance in viola—got the Mercy Hospital lies just to the east volunteered six times, says that the

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program has benefitted his playing. To funnel volunteers into the unit and the medical detoxification “My jazz improvisation skills are program, Benner relies on personal unit, where patients are struggling with noticeably better because I can take contacts and e-mail announcements, chemical dependency issues. what I learn from my lesson and apply and she often makes the short trip to Usually the groups that she works those skills to a live performance every campus to recruit. Sullivan learned with have anywhere from 2 to 16 week,” he said. “Live Lobby Music is a of the program when Benner made clients, and each day Benner leads great way to have fun and give back to a pitch for Live Lobby Music to her three to four sessions, which last from the community through music.” service-learning class; Pena and 45 minutes to an hour. Sometimes Chris Molinari, who has Molinari volunteered after Benner there is interactive music making, volunteered five times and has two spoke to their piano classes. and at other times therapy involves more appearances lined up for him Volunteers agree to play for an breathing techniques or physical and his jazz ensemble, claims that hour, and Benner schedules their exercises, such as stretching or the experience is both enjoyable performances throughout the week movement—whatever the group needs and rewarding. He says, “Many staff and at various times of the day. The on that particular day. members and visitors appreciate our “stage” is a corner of the Level 2 Not all of her clients are placed in presence in the hospital. Since we are lobby of Building E, near the stairway, the hospital voluntarily, but they do not in a special stage area, people will elevators and a waiting area for volunteer to take part in her therapy come up to us between songs and talk endoscopy patients. sessions. Music therapy, Benner says, to us about our music, about jazz, or Live Lobby Music is freely given to can be beneficial for any patient in a just thank us for being there.” the patients as well as the hospital’s health care setting. Kerri Sullivan, who has volunteered staff and visitors, but in Benner’s Through Live Lobby Music and for Live Lobby Music once a month for vocation she uses music more music therapy, Benner is proving that two years, says, “I keep coming back purposefully. the benefits of music can extend to to give my time and talent because it Employed as a music therapist the staff and visitors of the hospital as is a joy for me to be around people, at UPMC Mercy since August 2008, well to patients. especially when I’m doing something Benner works with patients from two that I love and they love.” hospital units: the in-patient psychiatric

Live Lobby Music Opera in the Aisles

his year, students in the voice program teamed up with Giant Eagle in a unique music outreach program called Opera in the Aisles. T In May and September 2010, the Opera Workshop performed for customers inside the Giant Eagle Market District supermarket in Robinson Township. Student vocalists, accompanied by a pianist, performed several arias for customers in 20-minute performances. The students were dressed as store employees who spontaneously broke into song. Guenko Guechev, chair of the voice department and director of the Opera Workshop, performed with the students.

www.duq.edu/music 21 s Robert Cameron celebrates his silver anniversary at the Mary Pappert School of Music, he can look back over a career marked with numerousA firsts for Duquesne, more than many could claim in 25 years. Upon joining the Music School faculty, Cameron’s artistic vision— continued musical growth by providing diverse learning experiences and exposing students to the highest levels of professional talent—led him to establish the Wind Symphony and lead the group on tours that earned national exposure. Copyright James F. Mullen Copyright James F.

Robert Cameron’s Quarter-Century Wind Symphony Director Celebrates Career Milestone

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“...what Duquesne does is of national and international nature.”

“Touring is important to our Dr. Robert C. Cameron students because they receive (center) flanked by (from the left) James Berry, national exposure,” Cameron said. Dr. James Spinazzola, “They have been able to perform on Dr. Fernando Jimenez, the same stage with wind ensembles Dr. Ryan T. Nelson, from numerous music schools, such Dr. Donald McKinney, Dr. Jonathan Neiderhiser, as Eastman and Indiana, to see for Dr. David Jacobs, themselves how comparatively well Dr. Brett Dietz and they play.” H. Carl Hess. Over the years Cameron and his student musicians have traveled across the country, performing for major regional and national music conventions. On several occasions, the Wind Symphony has been selected educational value is of greatest coveted first prize of one million Baht through audition to perform for the importance,” Cameron said. “We ($33,000) prize is awarded. College Band Directors National pick something new, something old, Cameron’s legacy and Association and the Music Educator’s and sometimes a premiere work. achievements were celebrated in National Conference. Overall, the performance has to be November during a silver anniversary Cameron also helped gain visibility educationally challenging, interesting concert in Pittsburgh’s Carnegie Music for the Music School by creating and exciting.” Hall. The concert brought nine of The Art of Wind Ensemble and Band Among colleagues he is well Cameron’s former students—who now Conducting symposium, a weeklong respected as a conductor and arranger. hold prominent conducting positions summer workshop that brought His setting of Franz Biebl’s Ave Maria, at major universities—to perform prominent conductors from national published by Boosey and Hawkes, was alongside their mentor. and international locations to campus. voted one of the best band publications “The talent level was extraordinary,” Students from the Music School of the 20th century by Band World recalled Cameron. “I’m very proud that volunteered as performers, adding Magazine. “I heard the beautiful piece Duquesne has produced so many great to the mix of musicians, young and sung by a choir once and immediately conductors.” experienced, who came to campus to wanted our ensemble to perform it. As for the future, Cameron aims to hone their talents. After some research, I found out that continue expanding his artistic vision, Also among the highlights of it had not been transcribed for winds,” nurturing growth through diverse his tenure at Duquesne, was the Cameron recalled. “So I did it.” experiences and strongly avoiding honor to lead the Wind Symphony Having grown up in Thailand and complacency. at Carnegie Hall in New York City in fluent in the language, Cameron has “I try to bring Duquesne into the 2004. He received the invitation after a returned to conduct, adjudicate and spotlight nationally by touring and composition by one of his students won teach numerous times. His work inviting world-renowned conductors a major competition, garnering attention there has included several nationally and guest performers to campus,” from New York producers. “It was an televised concerts with the Royal Thai Cameron said. incredible moment for the students and Army Band and more recently a visit to “We are much more than a local for myself,” Cameron commented. guest conduct the Mahidol University school; what Duquesne does is of Cameron selects the Wind Wind Symphony and to adjudicate the national and international nature.” Symphony and Symphony Band Thailand International Wind Ensemble repertoire meticulously. “The pieces’ Competition, for which the highly

www.duq.edu/music 23 Teaching the musical leaders of the 21st century Mark Koch One to Watch— Adjunct Professor and Assistant Chair of Guitar Anthony Rankin Mark Koch is the director of the jazz ith three independent albums, Photo courtesy of Tom Larkin / T. Larkin Productions guitar program at a handful of downloadable Duquesne University, offerings and abundant praise director of the from music critics, Anthony Summer Guitar and RankinW is drawing attention and gaining fans. Bass Workshop and Rankin graduated in 2006 with a Bachelor co-director of the of Music Technology/Sound Recording degree. student jazz guitar In his years at Duquesne, members of the ensemble. faculty like Mark Koch, assistant chair of guitar, He is the noticed Rankin’s talent and drive. “Anthony administrative was a talented, resourceful, self-motivated, and director of the Teaching Guitar in the reliable student,” Koch, who was Rankin’s guitar Classroom program, which was created teacher, said. “Even as a freshman he already to revitalize the guitar in education. This acquired the discipline to function effectively as very successful task force has trained a performer and songwriter.” more than 1,000 high school and middle Rankin, whose father was the drummer in Music School alumnus school music teachers across the United the Iron City Houserockers, more or less grew Anthony Rankin has States, who in turn have taught more up in the music business, so from a tender earned the attention of fans and music critics. than 280,000 young guitarists. age he knew that even a modicum of success An adaptable guitarist, at home exacted a great deal of hard work. While still a playing any type of music, Koch has high school student, Rankin, Koch recalled, was performed on commercial recordings already taking guitar classes at Duquesne, writing songs and performing. and with various ensembles and Koch finds Rankin’s multi-instrumental talent and work ethic impressive, but shared the stage with a long list of he also pointed out that Rankin has a good head for business—more and more internationally known jazz and popular an essential part of a musician’s success. music artists. As strong as Rankin is as a performer, he found other ways to make his Koch, who started playing in mark, too. Right out of college, he began working at the award-winning Studio Pittsburgh-area clubs while still in high L in Weirton, West Virginia, and has since honed his skills as a session player, school, has had a number of influential writer and producer. teachers, including Hoyt “Slim” Bryant, Because Rankin was a talented, highly motivated student, teaching him was Joe Negri, Ron Anthony and Joe Carola. enjoyable, but Koch also described Rankin as humble, a quality that can be just He studied jazz theory and piano with as important for success. “If you realize that there’s a lot out there for you to Robert Doak and composition with Mike learn, it makes you that much better,” Koch said. Tomaro, the director of jazz studies at Fans say Rankin’s music is best appreciated live, and his shows run the Duquesne University. Koch also studied gamut from full-band showcases to intimate acoustic performances. He has with Pat Martino and appeared with him shared bills with Elliott Yamin of American Idol fame, as well as Donny Iris, in the documentary film Pat Martino: The Clarks, Bill Deasy, Joe Gruschecky and the Houserockers and BE Taylor, Open Road. and performed at major regional venues as well as at clubs and festivals in Cleveland, Philadelphia, Baltimore and Los Angeles. Rankin disregards fixed musical borders, and his latest effort, Blow This House Down, mixes funk, rock, pop and vintage soul. Visit www.anthonyrankin. com to learn more about the recording and the artist.

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“Degenerate” Music Recital Works banned by Nazis showcased

usic that was the entartete label, but in general Nazi once labeled aesthetic standards were extremely “The music of that period was “degenerate” conservative. Many artistic genres, deemed degenerate because and banned by including jazz and surrealist, cubist the Third Reich and expressionist painting, were of the race or political ideology Mwas showcased in April 2010 in deemed degenerate, and the list of a chamber music recital called artists to see the label applied to their of the composer...” Entartete Musik. output includes Pablo Picasso, Louis The program was the idea of Armstrong and Franz Kafka, among composed between 1896 and 1956. adjunct professor and Pittsburgh many others. Each of the composers showcased in Symphony Orchestra clarinetist Ron More important, the fact that an the recital lived to see his work banned Samuels. The recital featured five artist was Jewish, black, Romany, a by the Nazis. Two of them perished in composers—Bohuslav Martinu, Pavel homosexual, a communist or a member the infamous Theresienstadt (Terezín) Haas, Franz Schreker, Hans Krasa of any other persecuted group was concentration camp. and Alexander Zemlinsky—whose enough to invite censorship. The performers included faculty works were censored and discredited Samuels programmed the recital colleagues from the Mary Pappert by the Nazis as part of a systematic featuring composers usually classed School of Music and special guest repression of the arts between 1933 among the post-Romantics. In this Marc Moskovitz, a cellist and author of and 1945. case the notion that their compositions a biography of one of the composers, While these featured composers were censored because they share a Zemlinsky: A Lyric Symphony (Boydell are relatively unknown to the majority form of musical expression is giving the & Brewer Ltd. Press, 2010). of classical music listeners, they are Nazi ministry of culture “way too much “This period was an incredibly representative of a generation of credit,” Samuels explained. “The music fertile time in music and this musicians whose work was silenced of that period was deemed degenerate program is part of the treasure trove. because it offended the Nazis in because of the race or political Regardless of the silencing of these some way. ideology of the composer, rather than composers during their lifetime, their According to Samuels, no because of the musical style,” he said. music is inextinguishable. It lives on,” consistently applied principles Entartete Musik featured clarinet Samuels said. provoked The Reich’s arbiters to apply works and included five pieces

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