Eastman Notes December 2003

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NOTES

DECEMBER 2003 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE EDITOR

A new look for Notes

Dear Eastman alumni: Notes has changed quite a bit. We wanted to try a fresh look, and happily our NOTES intrepid designer, Steve Boerner, did too. To complement Steve’s elegant, readable design, we commissioned a cover by local artist David Cowles, who rendered the Eastman Jazz Quartet in his unique, colorful style, as seen in Entertainment Volume 22, Number 1 December 2003 Weekly, The New Republic, and many other magazines. Dave’s art defi nitely jazzes up Notes (so to speak). Published twice a year by the Offi ce of Communications The look is different, but our mission remains the same: “To enhance the Eastman School of Music continuing value of the Eastman experience.” The beginning of the “Eastman 26 Gibbs Street, Rochester, NY 14604 experience” is described in an excerpt from Vincent Lenti’s upcoming history (585) 274-1040 of the School; as for its continuing value, look no further than Charles Strouse’s [email protected] warm, funny speech from Commencement 2003. Editor Reports on the Luciano Berio Festival and the Roch- David Raymond ester International Jazz Festival demonstrate Eastman’s Assistant editor involvement in all kinds of music. Berio’s death last May Christina Zikos reminds me that this Notes also observes the passing of Contributing writers fi ve current and former faculty members. Sad news, but Martial Bednar Amy Blum all fi ve remain part of Eastman history, as outstanding mu- Christine Corrado sicians, dedicated teachers, and (as Vince’s reminiscence Jun Qian of Maria Luisa Faini bears out) colorful personalities. Contributing photographers DMA student Jun Qian’s trip to China last summer, Kurt Brownell sponsored by the Professional Development Commit- Gelfand-Piper Photography tee, demonstrates the School’s support of students and Bob Klein Photography Don Ver Ploeg faculty. I like students to report for Notes in their own Amy Vetter words, and Jun’s story is indeed his story (and, by the way, Will Yurman you couldn’t edit a nicer guy). Photography coordinator This is also a “web-friendly” Notes. With its recent redesign (see page 21), Amy Vetter Eastman’s website is now the major School “publication” and information source. Design This includes expanded alumni services, detailed by Christine Corrado (page 21). Steve Boerner Most of our alumni news comes via e-mail, and now it’s even easier for alumni Associate Director for Advancement to stay wired to Eastman. Susan Robertson Besides being even nicer to look at and utterly fascinating to read, we are now eco-friendly: starting with this issue, we are printing Notes on recycled paper (and thanks to the slight reduction in size, on less of it). Happy reading! We always welcome your comments, ideas, and reminiscences.

Printed on recycled paper 50% post consumer Editor INSIDE

CONVOCATION 3 Why are you drawn to music? BERIO FESTIVAL Director and Dean James Undercoﬂ er asks FEATURES RARE 18 – and answers – a very basic question PERFORMANCES OF THE MASTER’S MUSIC COVER STORY 5 Jazz in the house (and in the Hall) Eastman jams at the second A LOOK AT EASTMAN Rochester International Jazz Festival 43 THE LATEST CD 14 CLARINET RELEASES BY EASTMAN STUDENT JUN QIAN FEATURES ALUMNI GOES ON A MUSICAL 8 “Eastman gave me music. MISSION TO CHINA Music gave me life” Charles Strouse ’47 recalls his Eastman days at Commencement 2003 12 The Eastman connection Historian Vincent Lenti draws the School’s A GRITTY, strands together 26 POSTMODERN MIDSUMMER NIGHT’S 14 A musical ambassador in China DREAM A Chinese clarinetist returns home to share his artistry SUMMER SESSION 4 STUDENTS SING 18 “The connections are what matter” AND DANCE THEIR Eastman celebrates the music of a modern WAY TO BROADWAY master, Luciano Berio

21 SCHOOL NEWS 29 DEPARTMENT NEWS 39 IN TRIBUTE 41 ALUMNI NOTES 49 FACULTY NOTES 50 CORRECTIONS 52 STUDENT NOTES

ON THE COVER: Harold Danko calls it “Eastman’s boy band,” but jazz lovers call it the Eastman Jazz Quartet ON THE INTERNET: More news about the Eastman School of Music, (clockwise from top right): Jeff Campbell, Danko, Clay Jenkins, and Rich Thompson. including the full text of Notes and expanded alumni information, can be found online at www.rochester.edu/Eastman.

COVER ILLUSTRATION BY DAVID COWLES December 2003 | Eastman Notes 1 Coming Events: 2004 Alumni Weekend 2004 Save the date! The next Alumni Weekend February 13 – 15 and Reunion will be held Friday, October 15 Eastman Opera Theatre; Poulenc: Dialogues through Sunday, October 17, 2004. of the Carmelites February 24 – 27 Are you Krzysztof Penderecki Festival celebrating February 24 a milestone Chamber Music Concert reunion year? February 27 5th Reunion Philharmonia Concert; Class of 1998 Brad Lubman, conductor; Class of 1999 Oleh Krysa, violin 10th Reunion Class of 1993 April 1 – 4 Class of 1994 Eastman Opera Theatre; 15th Reunion Carlisle Floyd: Susannah Class of 1988 Class of 1989 April 16 20th Reunion Eastman-Rochester Chorus/ Class of 1983 Class of 1984 Eastman School Symphony Held during the fall semester of even-numbered years, Orchestra; Beethoven: 25th Reunion Alumni Weekend offers all graduates of the Eastman Class of 1978 Missa Solemnis Class of 1979 School of Music the opportunity to return to Rochester May 19 – June 16 30th Reunion to reconnect and reminisce with fellow alumni, former Class of 1973 Eastman Wind Ensemble Class of 1974 teachers, and today’s Eastman students. Asian Tour (Japan, Taiwan, Hong 35th Reunion Kong, Macao, Singapore) Class of 1968 Plans for Alumni Weekend 2004 are in the beginning stages. Class of 1969 June 4 – 14 Watch your mailbox, email box, the Alumni Weekend 40th Reunion Rochester International Class of 1963 website (www.rochester.edu/alumni/weekend.php) and Jazz Festival Class of 1964 the next issue of Notes for news about programs, special 45th Reunion October 14 – 17 guests, accommodations, registration, attendees, and more. Class of 1958 Alumni Weekend 2004; Class of 1959 100th Anniversary 50th Reunion Class of 1953 of Sibley Music Library Class of 1954 55th Reunion Get involved in AW04 early – Class of 1948 be a Class or Studio Scribe! Class of 1949 60th Reunion Help spread the word about Alumni Weekend and Class of 1943 Reunion by staying connected with your friends and Class of 1944 colleagues. Class and Studio Scribe volunteers help to keep fellow alumni informed about plans for Alumni 65th Reunion Weekend while facilitating networking amongst alumni Class of 1938 and friends before, during, and after AW04. Class of 1939 To volunteer as a Class or Studio Scribe, email 70th Reunion Christine Corrado, Director of Alumni Relations, at Class of 1933 [email protected]. Class of 1934

2 Eastman Notes | December 2003 CONVOCATION Why are you drawn to music?

Director and Dean It’s helpful to me, in my multifaceted job mirrored the American business world. In here, to remind myself often just how much our fi eld, a few record labels, a few dominant James Undercofl er I love music. In fact, at some important level, agents and publicists, a few large publishers, asks – and answers – I am enslaved by it, as I suspect all of you are. and a handful of large performance organizations decided who and what would be heard. a very basic question Why are you drawn to music? It’s important The power structure of the music industry for you to be able to answer this question, in was clear and easy to understand. A talented your own mind especially, throughout your young student and his teacher could “write career, since the issues in the profession today a script” that would take him or her to a are so very challenging and complicated. career. For example, a young violinist’s fi rst Most of us come to music as a child, hav- CD would include the Bruch G minor and ing been introduced to it by a parent or in a the Mendelssohn Concertos; you would do school program. Something clicks – it feels a “milk run” concert series; then release your good, it’s something we’re good at, what a nice second CD of incidental pieces by Kreisler; surprise. We fi nd that people are moved by us. then raise the bar in your concert appearances; and so forth. All of this could be One of my most profound memories is from orchestrated by a powerful coalition. the big concert at the end of fourth grade. I was one of what must have been 1,000 Those days are gone. There are some rem- trumpets, although it was probably 15. One nants of the old system, but by and large, of the songs we played was “Bye-Bye Blues.” it’s over. There are now hundreds of small It sounded pretty cool, and I loved playing it. recording labels, technology-based distribu- JAMES UNDERCOFLER, director I felt like I was being carried along on a raft tion of sound fi les, thousands of self-pub- and dean of the Eastman School on water. After the concert, the mother of a lished composers and arrangers, and more of Music, delivered this year’s friend of mine told me that she cried during agents and publicists than can be estimated. convocation address in Kilbourn it. That was it for me – lifelong enslavement! We fi nd this same pattern in the business Hall on September 4. Each of you has a story like this one to world. Large corporations are reducing their Director Undercofl er’s tell. Each of you has given yourself to the size and spinning off divisions, so that they convocation address is also creation of beauty and to moving people can be fl eet-footed in a rapidly changing available on the Eastman through your expressivity. Each of you has economic environment. Entrepreneurism is website: www.rochester.edu/ come to the Eastman School of Music to being fostered and encouraged at all levels in Eastman/news. enhance your skills, to refi ne your artistry American and international business. and thinking, and to begin your transition What does this mean to you? And what does from student to professional. this mean for the Eastman School of Music For those of us who are employed well, our and you? profession is a fascination; for those of you First of all, it’s important to know that in who are not yet employed, it must appear as an environment like this one, there is more a mystery or even a quagmire. The underly- opportunity for you, rather than less. Further- ing conditions and assumptions that have more, it’s important to remind ourselves governed our profession from the mid-1960s that people love music and listen to it as an through the 1990s have changed, are still important and daily part of their lives. changing. And it is essential – in fact, critical – that you understand these changes so that I could give you numerous examples of you can succeed, be heard, and move people Eastman graduates and graduates of other with your artistry. music schools who are building impressive careers that not only allow them to perform Until the late 1990s, large organizations dominated the music industry. This structure CONTINUED ON PAGE 4

December 2003 | Eastman Notes 3 CONVOCATION

CONTINUED FROM PAGE 3 dominated the ﬁ eld, formulas evolved inside and compose the music they love, but also the training establishment, including con- provide them with a decent income. But, servatories and music schools, recipes that rather than tell these stories, I will sum- would get you in – to an agent, publisher, marize the shared characteristics of these audition, label. These formulas are out-of- young musicians. date and soon will have no use whatsoever.

One, they are ﬁ rst-class young artists. They So, at Eastman, and elsewhere, you need to play, sing, or compose at the highest levels develop the ﬁ ve characteristics I listed, and of expertise and intelligence. They have prepare yourself for the new professional something important to say, and others hear world, one without the large controlling it and know it. organizations and their formulas.

“Know that you are operating in a new professional world, one ﬁ lled with opportunities and possibilities, one that is evolving and seemingly mysterious, but one that also is more vulnerable to your inﬂ uence than ever before.”

Two, they are driven to succeed. There is Let me summarize these skills: one, unques- no sense of “being done.” They go at it until tioned artistry; two, commitment and drive they achieve the internal goals they have set. toward worthy goals; three, literacy and Failure is not in their vocabulary. intellectual curiosity; four, knowledge of and ability to use contemporary technologies; Three, they are literate. They read literature, and fi ve, networking and commitment to enjoy other art forms, and talk about how community enhancement. music relates to other disciplines. They are politically involved and care about how things Keep these characteristics constantly in are going in their communities and world. mind as you make choices – those thousand choices that come your way each week – Four, they know technology. They under- here at Eastman. Know that you are operat- stand how to fi nd out what they need to ing in a new professional world, one fi lled know. They are clever. with opportunities and possibilities, one Five, they support each other. They are non- that is evolving and seemingly mysterious, competitive. They form networks with other but one that also is more vulnerable to your artists, and these networks enrich their lives, infl uence than ever before. Know also that both professionally and personally. your teachers and the administration of the School are working as hard as you are to see Are these characteristics compelling to you? into the future. We are determined to You will see them in abundance at Eastman. prepare you as best we can for what will The formula days are over. What I mean be your music world. by this is that when large organizations

4 Eastman Notes | December 2003 COVER STORY

Acclaimed composer and Grammy nominee Maria Schneider ’85 led the Eastman Jazz Ensemble in her own music on June 9 in the Eastman Theatre.

Eastman jams at the second Rochester International Jazz Festival By David Raymond he ﬁ rst Rochester International Jazz Festival, held in June 2002, was a big hit, but one thing was missing – a major presence by the Eastman School of Music. Jazz This year, Eastman was in the Festival spotlight. Joining such 2003 RIJF headliners as Dave Brubeck, Tony Ben- T nett, and Spyro Gyra was an enthusiastically received contingent of Eastman jazz faculty, students, and alumni – headed by the members in the of the Eastman Jazz Quartet: pianist and Jazz Studies and Contem- porary Media department chair Harold Danko, trumpeter Clay Jen- kins, bassist Jeff Campbell (MM ’92, DMA ’02), and drummer Rich Thompson (MM ’84), all faculty members. Danko met with Festival producer and artistic director John house Nugent and Festival Development Director Jeff Springut in fall 2002, to discuss involving Eastman more thoroughly in the Festival mix. “It turned out to be very doable for them,” says Danko. “Eastman got two nights of our own, and the rest of our involvement just evolved.” ( ) CONTINUED ON PAGE 6 and in the Hall

PHOTOGRAPH BY BOB KLEIN December 2003 | Eastman Notes 5 CONTINUED FROM PAGE 5 40,000 music lovers over 10 days, “was everything we had hoped for “Harold Danko has been a vital catalyst in Eastman’s involvement and more,” says Nugent. in the Festival,” says Nugent. “We can offer great opportunities Night after night, fans spilled into the Rochester streets after con- for creative students to perform, and to promote Eastman’s jazz certs, moving along to other performances. Headliners often went program.” along with them, performing at open jam sessions (or in the case of Throughout the 1950s and 1960s, and especially after jazz was drummer Steve Gadd [MM ’68], joining sax player Joe Romano dur- established as a full, independent department in 1971, ing a gig at the nearby restaurant, Max of Eastman Place). Eastman has steadily produced well-trained jazz per- The “marquee names” were not shy about telling au- formers, composers, and arrangers. Now the School diences and media how much they enjoyed playing at is now one of the Festival’s major sponsors, and more Eastman and revered the School. concerts each year take place in the Eastman Theatre, “The Eastman Theatre facility was a very important part Kilbourn Hall, and the Gibbs Street environs. of the initial decision,” says Nugent. “I had played there In fact, an Eastman grad was there at the begin- myself as a saxophonist with Woody Herman, Rosemary ning: a Rochester Jazz Festival was originally sug- Clooney, and Tony Bennett, and I knew what a fantastic gested to producer Nugent by Ned Corman BM ’59, venue it was.” founder of The Commission Project (and an enthusias- The Festival was made especially sweet for ESM by tic proponent of jazz and of music education). news a few weeks before that not only had Eastman stu- Nugent, who also directs the Stockholm Jazz Festival, dents once again been honored in the 2003 Down Beat thought Rochester was a good bet for an event similar to Maria Schneider magazine awards for performance and writing, but also the very popular Mon- that Harold Danko won a Down Beat Achievement Award Schneider rehearses the treal Jazz Festival, which has for Jazz Education – one of only three given this year. Jazz Ensemble before last June’s become one of that city’s signa- The winning student groups – the Dave Guidice Quartet and the Rochester International ture events. He seems to have Robert-Koenigsberg Sextet – were performers in the Festival. On Jazz Festival. been right. The second Festi- June 8, they performed the ﬁ rst half of a concert headlined by saxo- val, which attracted more than phonist Rich Perry and the Eastman Jazz Quartet. On June 9, the

6 Eastman Notes | December 2003 PHOTOGRAPHS BY BOB KLINE Eastman Jazz Ensemble, guest directed by Dave Rivello (MM ’89) Nugent’s plans for the 2004 Festival include fi ve major headliners and Eastman student Brian Shaw, opened a concert with the works and 75 different bands. He’d also like to involve high school students, of the four Down Beat Award-winning student writers (Shaw, Eric with free concerts by a big band of 30 or 40 students. Schmitz, Clarence Hines, and Brian VanArsdale), followed by one He also wants to increase the number of venues, for example of Eastman’s top jazz alumni, Grammy-nominated composer and ar- turning Eastman’s parking lot into a temporary café with live music ranger Maria Schneider (MM ’85), leading the Jazz Ensemble in a under a tent. program of her own compositions with saxophonist Rich Perry. Eastman’s participants for next year will also “The awards coming out when they did was a serendipitous include pianist and composer Bill Dobbins, who thing,” says Danko. “Not only did it get our profi le up there, it returned to Eastman in 2002 to direct the Jazz En- made the concerts into a nice venue for our award winners, semble after several years directing Germany’s NDR and for alums like Maria.” Big Band. Danko is also trying to line up Marian McPart- The Festival’s growing reputation, and Eastman’s land; the legendary pianist didn’t attend Eastman, but her growing role in the Festival, have also led John ties to the School and to Rochester run deep. Nugent to establish a jazz performance scholarship Danko’s ideas for the future include an all-star program, rewarding deserving and talented area alumni tribute to Ray Wright, the legendary arranger high school students with performance scholarships who led Eastman’s jazz department from the 1960s to to Eastman. the 1980s. The second Festival took a year to organize, and the And as before, outstanding Eastman students will be Third is well underway (though details of guest artists John Nugent much in evidence. “Just because we didn’t do much with were still to be announced when jazz education this year,” says Nugent, “doesn’t mean we won’t in A serendipitous thing: Notes went to print). the future.” the Eastman Jazz Quartet with a One thing is sure; there will “Last year, a lot of students stayed around for the Festival and were favorite guest artist, saxophonist be an even stronger Eastman pumped up about it,” says Danko. “They’re not involved in it so much Rich Perry. Their CD At Eastman presence, which is good news yet, but the event is defi nitely conducive to that.” was released last spring. for everyone involved. Danko concludes happily, “It can only get better!”

ILLUSTRATIONS BY DAVID COWLES December 2003 | Eastman Notes 7 COMMENCEMENT

A Broadway master composer “Eastman shares his memories of Eastman gave me music. Music gave melife.”

By Charles Strouse i. I’d like to tell you something about Eastman. It’s a great music school that provided me with wonderful tools that have served me all my life. I’m honored to have been asked to speak to you upon your graduation – a day which will be surely H remembered the rest of your life – like the fi rst time you kissed someone you loved and discovered she loved you too. But I must confess: when I do remember my own graduation, it’s Charles Strouse accepted the Alumni Achievement Award not always with unmitigated joy. from James Undercofl er – and got to hear some of his That’s because when I received my bachelor of music degree, I was music. ashamed of my parents and didn’t invite them to the ceremony. They On May 18, composer Charles Strouse (MM ’47) gave were hopelessly bourgeois and knew nothing of words like “neo-clas- the Eastman Commencement address. One of Eastman’s sic,” or “Hindemith,” or “sonata form.” I just couldn’t have them walk- most famous alumni, Strouse is the composer of Bye Bye ing around loose. My new friends were too smart, fast, and superior Birdie, Applause, and Annie (three of his many Broadway to mix with their like. musicals), as well as concert music and movie scores. My undergraduate days here were somewhat unusual – though Strouse wanted his commencement address to tackle perhaps every new student feels that way. I arrived here in Rochester “real life questions for musicians.” It did, with humorous to begin my studies at the age of 15. Before this, I’d never attended and sometimes moving memories. a classical music concert. As a matter of fact, I had never been away from home, and there was a dark sadness under my eyes. The fi rst student I met here was a brass player from the South, who confessed to me that he thought all Jews had horns. Not French horns, I presumed. My sadness only grew darker.

8 Eastman Notes | December 2003 PHOTOGRAPHS BY KURT BROWNELL “With that love of music, I never did a day’s work in my life”: Charles Strouse at Commencement 2003. In addition, everything about Rochester looked brown to me. Not turned improbably white and frigid like Lost Horizon, with more snow a juicy medium-rare hamburger brown like Harlem (I’m a New than I’d ever seen, and like Lost Horizon, suddenly escape became Yorker), but the sad brick-brown of factories that spoke of out-of-date impossible! And, surprisingly, undesirable. products like men’s fedora hats and women’s corsets – articles, by the Like a piece of music I’m starting to compose, a theme seems to be way, which were still at that time part of my parents’ wardrobe. emerging here, but I’m damned if I know what it is and I don’t know There was a river here, the Genesee (also brown, I’d imagined), where I’m going with it yet, and maybe you’ll have heard it before which I would never see (the reason being that the Eastman School anyway, but as one of my composition teachers told me a long time was wedged into a dark downtown area) even though its majestic ago, “You wanna write? Just get 10 measures down on paper, don’t name – “Genesee, Genesee” – was constantly invoked in song, and stop to criticize it, get it down – you’re a composer, not a critic.” on the printed logos of girls’ t-shirts (girls, who, to my amazement, So here goes: sure as God made bassoons, I did manage to get past often did not wear corsets). I learned to drink a beer named for that age 15, and with the patient support of Elvira Wonderlich (a dedi- same river, which came in dark brown bottles. And I recall, even the cated teacher here at Eastman you couldn’t have known and who name of one of my friends was Jim Brown. I’m sure never encountered a denser theory student than I), with It hits me now, parenthetically, that there were not too many the friendship of Charles Warren Fox (who showed me that music, brown students in our class, but that was then, and it was after all, interestingly, could be analyzed), and with the further help of a non- wartime and certainly no reﬂ ection on Eastman policy. corseted girl whose name I can’t reveal – with the help of them and I guess all I’m saying is that my ﬁ rst semester at Eastman was sad many others, I did make it through my 16th, 17th, and even my 18th and lonely and various shades of brown, and then – and then it all CONTINUED ON PAGE 11 “You wanna write? Just get 10 measures down on paper, don’t stop to criticize it, get it down – you’re a composer, not a critic.”

December 2003 | Eastman Notes 9 CONVERSATION “A talent for light music”

By David Raymond What was it like studying with Nadia catch phrases that can be a part of their char- Boulanger? Aaron Copland? acter. It is no different from Mozart writing for a coloratura soprano – you can be cre- Boulanger, of course, was a Neoclassicist of ative, but you had damn well better respect the Stravinskyan school. She was also a great her ability. When you’re writing chamber psychologist, and discovered another part of music, you concentrate on writing equal lines my personality. She was the fi rst person to that form a beautiful whole; if it’s a concerto, tell me I had a talent for light music – a big you’re writing for a star performer. surprise to me. The French are much more relaxed about light music; composers like You’ve worked with Lee Adams [lyricist of Poulenc and Milhaud wrote popular songs Bye Bye Birdie, Golden Boy, Applause, and and fi lm music. It was never part of the other musicals] for more than 40 years. How scene at Eastman. We listened to popular do you sustain that artistic relationship? music, but never thought we would write it. CHARLES STROUSE entered Are you married? Eastman in 1943 – aged 15! – and I studied with Aaron at Tanglewood, and also No. graduated in 1947, aged only 18. privately. He could always put his fi nger on A piano minor, he was more what was wrong with a piece you brought to (laughing) Then I can’t explain it to you! interested in theory and compo- him; he could tell exactly when its “posture” All I can say is that successful collaboration sition, and his post-ESM teachers was changing, as he would put it. I don’t is about listening to what the other person included David Diamond, Nadia know what terms they use now in describing has to say. Boulanger, and Aaron Copland. 12-tone or electronic music, but he always I have worked steadily with Lee Adams, but used words like “posture,” “muscularity,” “I graduated from Eastman with also with other lyricists: Alan Jay Lerner, “leanness.” no visible means of income,” he Sammy Cahn, Richard Maltby, Martin Charnin, says, “ but while living with my What did Copland think of your composing of course [Annie]. I loved working with them folks in New York City, I worked for Broadway? all. It combines the best aspects of being frequently as a pianist, and married with the best aspects of having He didn’t know about my light music. He wrote pop songs (with longtime a mistress. called me one day to say he heard about a lyricist, Lee Adams), arranged show on Broadway with music by a Charles You were a guest teacher in composing for music for Broadway shows, and Strouse who spelled his name like mine. It the musical theater at Eastman in the 1980s. eventually wrote the entire was Bye Bye Birdie. What kind of experience was that? score for my fi rst musical, Bye Bye Birdie, in 1960.” Was it easy to break into the At Eastman, [the students’] sense of music Broadway scene? was shaped by their composition stud- Since then Strouse has added ies. When they tried to compose musical many more shows to his résumé Where you hang out makes all the difference, scenes, they were writing about the relations (Golden Boy, It’s a Bird It’s a and I was lucky to be able to hang out in New between an E-fl at and a B natural, not about Plane It’s Superman, Applause, York. I played piano for dance classes and in the relations between the characters. But Annie), as well as concertos, restaurants, and met singers and actors, and that switch between writing abstract music chamber music, a couple of gradually fell into the world of the theater. and theatrical music for characters is inter- operas, and music for movies [In the 1940s and 50s] musical comedy music esting to me. (Bonnie and Clyde) and TV (All was pop music. It ain’t like that now! There is in the Family). The Hanson Insti- a dichotomy between pop and theater music I thought they made a big mistake at tute for American Music at that wasn’t there then. Eastman in ending the courses I gave for Eastman recently commissioned young composers. I believe the faculty What is it like writing for big stars like him to write a companion piece thought it was like teaching automobile Sammy Davis Jr. or Lauren Bacall? to his one-act opera Nightingale, mechanics at MIT. I have taught similar to be performed by Eastman You have to be able to focus their brilliance classes at a dozen different schools since Opera Theatre in fall 2004. to an audience through your work, inventing then, and also at the Musical Theatre Work-

10 Eastman Notes | December 2003 PHOTOGRAPH COURTESY CHARLES STROUSE shop for ASCAP. I don’t like to give advice per se. I give advice as a composer, about ing questions.

What’s the future of the American musical?

Well, that’s certainly a typical newspaper question! As long as there are idiots who like to write music and idiots who like to

the Class of 1947. His friend and fellow composer William Flanagan will always tempt composers. is also in the top row, fourth from left. Are you working on anything for CONTINUED FROM PAGE 9 Broadway now? year, and here I am on May 18th: see, it all does connect! Two new musicals, Marty and The Night Okay, it doesn’t quite connect, but if these words were music, I’m ready to They Raided Minsky’s [based on a 1967 movie modulate now into a new key. You ready? for which Strouse wrote the music] are in what we laughingly call pre-production – astman gave me music. Music gave me life. And with that love of meaning we don’t have a theater yet. music, I never did a day’s work in my life. I never felt happier moments in my life than when I connected two or three or six or 10 notes What kind of concert music do you write? in a way that surprised me, and might have pleased Miss Wonderlich I assume you don’t write serial music! E and Dr. Fox; Burrell Phillips and Bernard Rogers (two of my beginning compo- No, I don’t write serial music, though I am sition teachers); Howard Hanson; and even my friend Jim Brown, who, by the more and more appreciative of it. In my own way, had been a composition major. (I always remember him as the fellow who, music, I freely absorb the infl uences I heard after hearing a particularly deep and complicated piece of mine [we often played in my youth. I think it is very American in our new compositions for fellow composers] would sit back and think, while I this way. waited hungrily for his praise. He’d rub his chin, and then say: “Charles, that’s a six-four bar there, but you only have fi ve beats in it.”) I really grew up musically And then there was another friend – why shouldn’t I take this time to at Eastman: we analyzed mention his name? He was my closest friend at Eastman, a fi ne creative Hindemith, Stravinsky, mind, and the fi rst person who ever said to me I was a good composer. Beethoven, and wrote How could I ever forget that? His name was William Flanagan, and he pieces in the style of was expelled from Eastman for being gay. It’s a mark of how far we’ve Mozart. But my mother come that I can say that. played stride piano, and Along about 10 years ago, I fi nally began to feel that some sitting and listening to her of the values my father had planted in me, and the corny stride play were some of the iano my mother had played so self-deprecatingly, had be- happiest moments of my ome a part of my skin (my parents are both dead now) – life. That’s part of my as much a part of me as the Nadia Boulangers and Aaron Coplands and Arthur Bergers and David Diamonds. relaxed with it. Dare I give a little advice? Well, it’s graduation day. First, make sure you have good genes. Then, remember your smart teachers ... and don’t always listen to them. Hang in. Hang out. Learn to play by ear, and send your children to Eastman. Thank you.

December 2003 | Eastman Notes 11 The Eastman connection Historian Vincent Lenti draws the School’s strands together

By David Raymond

f you’re going to pick an Eastman Howard Hanson retired after 40 years as di- faculty member to serve as School rector; and from 1964 to the present. Historian, you’d do well to pick an “I didn’t want a big, encyclopedic tome,” alumnus who has stayed with the says Lenti, “the kind of book that people buy School as a teacher and administra- and never read. I wanted it to be readable, and I tor for decades, and who has spent much of for each book to be a stand-alone volume.” that time gathering information about musi- The fi rst volume was the hardest to write, cal life at Eastman and in Rochester. Lenti says. “Many people are still around who Someone, that is, like Vincent Lenti, who remember the Hanson years and afterwards. has taught piano and pedagogy at Eastman But there’s a lack of anecdotal information since 1963, and who was also director of for the 1920s, since there are very few liv- the Community Education Division (then ing alumni from that period and no faculty.” called the Preparatory Department) from Luckily, in the 1970s, while heading the Pre- 1970 to 1996. Lenti is one of two remain- paratory Department, Lenti made oral inter- ing Eastman faculty members – the other is views with several elderly Eastman students Professor of Percussion John Beck – to be ap- or retired faculty, and saved the tapes, which pointed by Howard Hanson. Lenti has also became a valuable resource for his fi rst vol- On good terms with the past: School written many articles and pamphlets about ume. The rest, he says, involved lots of reading Historian Vincent Lenti in his Eastman studio. Eastman history and about musical life in of documentary evidence: old reports, corre- Rochester in the 19th and 20th centuries. James Undercofl er for- spondence, and minutes in the Sibley and Rush Rhees Libraries. mally appointed him Eastman School Historian in 2002. Lenti’s fi rst volume also contains chapters on a very colorful chap- Lenti recalls that Undercofl er had earlier asked him to write a history ter in Rochester musical life in the 1920s and ’30s, with “stellar peo- of the School, “since I’d been dabbling in Eastman for years.” He started ple” like Martha Graham and Rouben Mamoulian working at the his research and writing during the 2001¬2002 school year, and the School, and such distinguished musical guests as Giovanni Martinelli fi rst volume of his projected three-volume history will be published in and Sergei Rachmaninoff appearing at the new Eastman Theatre. 2004, the 150th anniversary of the birth of George Eastman. The most important infl uence in Eastman history? “Howard Han- Lenti sees the Eastman School’s history as falling into three defi - son,” Lenti replies unhesitatingly. “Before Hanson, the School had a nite periods: from the founding in 1921 up to the death of its “de very strong European infl uence. He realized that we needed a distinctly facto director,” George Eastman, in 1932; from 1932 to 1964, when American brand of music education. We haven’t outlived that.”

12 Eastman Notes | December 2003 PHOTOGRAPH BY KURT BROWNELL EXCERPT Lenti on “a truly American institution”

The Eastman School of Music is not the oldest music school in the United States, nor is it the largest. Nonetheless, it has had an enormous infl uence on musical education in America. Creating a professional music school within the context of a university was a bold experiment at the time. American music education had traditionally followed the European model of training performers in conservatories and creating musical scholars in universities. The Eastman School would be a home to both performer and scholar, as well as being a home to the composer and the educator. It would offer instruction to students whose interests were purely avocational, while also offering training to those preparing for a professional career in music. It would be a professional music school, but one which was committed to a broadly-based education leading not to a professional diploma but to a George Eastman’s “great idea” took a leap forward on September 4, 1922, opening day of the baccalaureate degree. The Eastman School new Eastman Theatre (showing The Prisoner of Zenda). would be in the forefront of national efforts to establish and regulate the curriculum for of the Bolshevik Revolution. The European education. It is the story of a magnifi cent the bachelor of music degree. It would be infl uence at the Eastman School lessened, new theater which became the location of a leader in the training of musicians at the however, especially after Rush Rhees deliber- concerts and recitals by the world’s greatest graduate level through the awarding of the ately sought to appoint an American as the musicians, a theater which featured annual master of music degree and through the School’s second director in 1924. The man performances presented by the Metropolitan creation of a new professional doctorate in he chose was Howard Hanson, who led the Opera Company of New York. music, which would be known as the doctor School for the next 40 years. Under his lead- Upon the Eastman Theatre façade are of musical arts degree. ership the Eastman School of Music became inscribed the words, “For the Enrichment a truly American institution, one which was Even more important, however, was the of Community Life.” The inscription was known throughout the world for its advocacy effort to establish the Eastman School as selected by Rush Rhees with the intent and support of American music. a truly American institution, dedicated to of dedicating the theater to that purpose. American ideals and to the encouragement It is the story of the earliest years in the his- In a broader sense, however, these words and support of American music. When it tory of the Eastman School of Music which embody the mission of a great music school. fi rst opened its doors in 1921, the School was forms the subject of this book. The story to The founders of the Eastman School of rather typical of musical institutions of its be related, however, is not simply that of a Music were convinced that the life of the time by having a faculty which was some- music school. It also involves a symphony community could be enriched through the what dominated by European and European- orchestra, an American opera company, a art of music. All of the endeavors which trained musicians. Some came to the United ballet company, a school of dance and drama, were associated with the founding of the States during the great years of immigration and a commercial radio station dedicated to school – opera, dance, drama, concerts, at the end of the 19th century, seeking a bet- broadcasting live classical music. The story radio broadcasts – were part of the great ter life in the New World. Others came fol- includes efforts to support the musical idea which was unfolding in Rochester lowing the devastation of the First World War. education of Rochester’s elementary and sec- during the 1920s. That great idea gave birth Some were exiles from their native countries, ondary school children and the involvement to a great music school, the history of which especially Russians who fl ed in the aftermath of the symphony orchestra in their musical we now begin to relate.

PHOTOGRAPH COURTESY SIBLEY MUSIC LIBRARY ARCHIVE December 2003 | Eastman Notes 13 CHINAA musical ambassador in

By Jun Qian Jun Qian received a BM from Baylor University uring the summer of 2003, I was invited by three symphony (where he studied with Richard Shanley) and an orchestras and two music academic institutions in China to play MM from Eastman, where he is now a DMA can- concerts and give master classes. My own mission was not only to didate in the studio of Kenneth Grant and a teach- share what I had learned in the United States, but also to promote ing assistant in clarinet and music theory. He won the Eastman School of Music in China. Third Prize in the 1997 International Clarinet D Although Eastman is one of the best music schools in the world, the Chinese Association Young Artist Competition and First people do not know as much about it as about other music institutions. I wanted Prize in the 1997 International Clarinet Festival to meet the new generation of Chinese music students and musicians, and to en- Orchestral Audition Competition, was a Carnegie courage them to study at Eastman by telling them about my American learning Hall concerto soloist in 2000, and was principal experience at the School. Also, I wanted to meet music teachers and help them clarinet for the Eastman Wind Ensemble’s 2000 build a new relationship with the Eastman School. Japan/Taiwan tour and 50th Anniversary. After more than nine years of studying in the United States, including almost Jun applied last spring to Eastman’s Profes- four years at Eastman, I have come to love American culture and its music while sional Development Committee for assistance still enjoying my Chinese heritage. I thought it was time for me to become an in funding his trip to China. (The Committee, ambassador of goodwill by introducing the Chinese people to American classi- administered by the Ofﬁ ce for Academic Affairs, cal music with their favorite local orchestras. funds student, chamber group, and faculty oppor- On May 28, I arrived at my birthplace, Shanghai, the largest city in China and tunities for career advancement.) Because Jun’s also the major cultural center. China’s booming economy is a major factor in its proposal was so compelling, the Committee desig- musical and artistic development. Many organizations, both government and nated him a “musical ambassador” for Eastman. private, provide funding; as a result, many museums, concert halls, and theaters

The Chinese characters above, which spell “concert,” are taken from the program used for Jun Qian’s July 19 performance with the Shanghai Symphony Orchestra.

14 Eastman Notes | December 2003 have been built in recent years. The state-owned orchestras are not Going home only equipped with world-class instruments, but also hire musicians Jun Qian’s trip to China last summer began with a visit to from throughout the world. his hometown of Shanghai, and included stops in two other There are currently four major conservatories in China: Shanghai, major cities. He performed, gave master classes, and served Beijing (Central), Sichuan, and Shengyang. Shanghai and Beijing are as ambassador for the Eastman School of Music. the two top conservatories in the country. Shanghai Conservatory is the school I attended for two years before I came to the United States, and I was very happy to see all my friends and teachers there.

etween June 15 and 18, I was invited by the Music Middle School Afﬁ liate to Shanghai Conservatory to conduct its ﬁ rst Shengyang wind ensemble. I am proud that this, my alumni school, has Jun performed with conductor been awarded the Gold Medal by the national government. Mei Zhang and the Shenyang B Though bands of various kinds have appeared throughout China in orchestra on August 3. elementary schools, universities, and professional companies, there is no band in which professional musicians can perform consistently. Beijing

Shanghai Jun arrived here May 28, and over the next few weeks performed in several concerts, including a “Jun Qian Alumni Recital” on June 18 and a performance of Copland’s Clarinet Concerto on July 19. Jun Qian gave master classes and lessons, at He-Lu-Ting School, to high school students in his native Shanghai. The instrumentation of those bands, with its heavy focus on the clarinet section and the bright timbres of certain instruments, is based on the traditional Japanese band system (which originated in Europe). The Chinese band repertory is very limited, due to the high cost of printed music. Eastman’s Dr. Donald Hunsberger donated music from his own collection, which my school received with deep grati- tude. I carried this precious music, which weighed about 60 pounds, Xiamen from Rochester all the way to Shanghai. Jun performed with conductor Xiao About two years ago, I talked to Mrs. Mei Zhang, the head of the Ying Xheng and the Xiamen Philhar- AREA SHOWN Conducting Department of the Conservatory, about my unique wind monic Orchestra on July 12. ensemble experience at the Eastman School. Based on Eastman’s model, she decided to start the ﬁ rst wind ensemble in China for music high school students. These students had been chosen from throughout the country, since there are only a few music schools on the high school level. They are great solo players, who only needed a few reminders about listening more to each other. Most of them will go abroad and study in the United States or Europe. During rehearsal breaks, I told them CONTINUED ON PAGE 16 Hong Kong

PHOTOGRAPH COURTESY JUN QIAN December 2003 | Eastman Notes 15 Bringing Copland to China: Jun rehearsing the American composer’s concerto with Ren-Chang Fu and the Shanghai Symphony Orchestra.

CONTINUED FROM PAGE 15 members; one of them, Chen Jiang, who attended high school with about my experiences in the United States, and about the music me, just received her doctoral degree from the Paris Conservatoire. schools which I attended. They were very interested in America, and My program consisted of Brahms’ Sonata in E-fl at; Muczynski’s Time asked me more about possible future study at Eastman. Pieces; Berio’s Sequenza IXa; and Mozart’s Clarinet Quintet. I conducted three sections with the chamber winds on Gounod’s Because it was the fi rst recital presented at the Conservatory after Petite Symphonie, and directed one rehearsal with the wind en- the terrible SARS epidemic, air conditioning was still prohibited. semble at the school. During rehearsal, I changed the setup Although the room temperature reached about 96 degrees, the from traditional concert band seating in circular rows recital was a great success, and later I was invited to do a to the “Eastman style” of straight rows in front of live telephone interview with the classical music station of the podium. I also worked on the balance of Shanghai Oriental Radio. The people who called were very tone color between various instrumen- interested in the differences between the Chinese and tal sections, focusing on the woodwind American music education systems. and brass. My third mission was to Xiamen, for a performance of the Mozart Clarinet Concerto, and eeting with Li-Qin Yang, the rehearsing the chamber winds of the Xiamen dean of Shanghai Conservatory, Philharmonic Orchestra. Xiamen is located was also a very special treat for me. in the Fujian Province of southeast China, Mr. Yang became dean after receiving right across from Taiwan. It is famous Mdegrees in composition and piano from conservatories for a beautiful island called Gu Lang Yu, in Germany. In China, more and more leadership posi- where many famous Chinese musicians were tions are taken by people who have studied abroad. They born. Gu Lang Yu also carries the name of “Musi- are very open-minded and want to know about develop- cal Island,” and it is said that there is at least one piano in ments in the West, and there is no exception in musical cir- every household. cles. Eastman was always the central topic of our conversation. It The Xiamen Philharmonic Orchestra is the youngest professional was surprising to me that he knew quite a few of the composition orchestra in China; the members’ average age is under 30. The music professors at Eastman; this made me think about the smallness of our director and principal conductor, Mrs. Xiao Ying Zheng, is one of the global village. Mr. Yang also expressed an interest in inviting more top senior conductors of the nation. Although the orchestra’s fi rst Eastman professors to Shanghai for concerts and master classes. season took place only fi ve years ago, and most of the members are On June 18, the “Jun Qian Alumni Recital” took place in the Con- new graduates from conservatories all over the country, it has rapidly servatory’s Recital Hall. I was very fortunate to perform with faculty established a national and international reputation. The Orchestra

16 Eastman Notes | December 2003 “During an interview at the Shanghai Oriental TV station, the hostess was curious about how American pop culture … has inﬂ uenced many classical composers. Another hot topic was Broadway musicals.”

hosted the Junior Division of the Tchaikovsky Music Competition for Two weeks later, I performed the Weber First Concerto with Mrs. Strings and Piano last year, and its recordings of new music by Chi- Mei Zhang in Shengyang, northeast China. Shengyang, the capital nese composers won the National Gold Medal two years ago. of Liaoning Province, has a rich musical culture. The orchestra per- Xiamen is also the fi rst non-government-funded Chinese orchestra; forms not only symphonic works, but is also the orchestra for the its concert season lasts all year, with a new program nearly every week. Opera House of Liaoning. After the concerto, they performed Men- The group is full of energy and great spirit, and everyone is humble delssohn’s “Italian” Symphony, which they had not previously played and eager to learn. During the chamber winds rehearsal, I conducted due to limited resources. I promised to bring more music to them and talked about how to incorporate the chamber music experience on my next visit home. within orchestral playing, encouraging them to have more chamber Two days before I returned to the United States, I gave clarinet music rehearsals outside of their already busy schedules. We also master classes and private lessons at He-Lu-Ting Music School, talked about my Eastman experi- Hongkou Division, in Shanghai. ence, because some of the musi- This is a music school for non- cians have considered continuing music-major students, mainly their education abroad. The fi nal on the high school level. Like concert, on July 12, consisted of most Chinese students, they are Debussy’s Prelude to “The After- very hardworking, with incred- noon of a Faun,” the Mozart Con- ible technique. Some of them certo, and Bartók’s Concerto for are just as accomplished as the Orchestra. musicians I heard in the conser- I returned to Shanghai the vatories. I worked with them on next day to prepare for the Cop- musical ideas such as achieving land Concerto. I considered this a warmer sound, with longer the most important concert on phrases, and encouraged them this trip, because the Shanghai to listen to recordings of great Jun’s Copland performance was part of an all-American concert Symphony Orchestra is one of opera singers. including Bernstein and Gershwin (see program on preceding page). the best orchestras in China, and They all want to play in the because it was my fi rst public appearance since I left the country nine orchestra or band when they go to college, and some want to study years ago. After I agreed to perform Copland’s jazz-infl uenced Clarinet music abroad. They asked me about the direction of their future Concerto (written for Benny Goodman), the conductor, Ren-Chang Fu, music education, including information about Eastman. The dean decided on an all-American program, including Bernstein’s Overture to of He-Lu-Ting, Guo-Dong Sheng (who is also an excellent clarinet “Candide” and Gershwin’s “Porgy and Bess” Suite and American in Paris. teacher), expressed his willingness to continue opening the door The purpose of that concert was to introduce American masterpieces to for the West. Shanghai, and to bring together both classical and jazz audiences. After the trip, I felt that my mission had been accomplished. How- ever, I could not have done it by myself. I would like to thank the hanks to Kenneth Grant, who gave me extra lessons and Eastman School of Music, which offered fi nancial assistance for shared so many of his musical ideas, and to the research tech- my trip; Dean Phyllis Wade, who helped me in that area; Associ- niques I have learned at Eastman, I drew on Copland’s original ate Professor Kenneth Grant, who spent so much extra time giving version of the Concerto in preparing my performance. The came lessons; Professor Emeritus Donald Hunsberger for his gener- T denza and coda contain high C-sharps (instead of the A-sharps in the ous donations; and Professor and Associate Dean Marie Rolf for her published second edition), making the music more exciting and vir- encouragement. tuosic. It was a challenge to perform, but my prayers and hard work Of course, the most fun I had on the trip was the time I spent in paid off. I received warm applause from both audience and orchestra. Shanghai with my parents and my dog, Lucky (even though he ate During an interview afterwards at the Shanghai Oriental TV Station, my dad’s pet fi sh). the hostess was curious about how American pop culture, including jazz, has infl uenced many classical composers. Another hot topic was ➤ Thanks to Betsy Marvin, Kenneth Grant, and Donald Hunsberger for Broadway musicals. their help with this article.

PHOTOGRAPHS COURTESY JUN QIAN December 2003 | Eastman Notes 17 Brad Lubman led Berio classics old and new: Sinfonia (1969) with the Philharmonia (above); Korot (1998) with the Tarab Cello Ensemble (right).

Eastman celebrates the music of a modern master, Luciano Berio The “connections By David Raymond n the ﬁ rst two days of May, the Eastman School virtuosic and imaginative music explored celebrated the music of the contemporary master new media, new instrumental techniques, Luciano Berio (1925¬2003). There were lectures, and new sound worlds. In 1955, he helped presentations, and concerts offering four decades’ found Italy’s ﬁ rst electronic music studio, worth of Berio’s compositions, from solo works to and in the ’50s and ’60s wrote groundbreak- O the mind-bending Sinfonia for orchestra and eight voices. ing works for tape and voice. Born in Italy in 1925, Berio belonged to a generation of European But Berio also considered himself part of composers that emerged after World War II who wanted to wipe the the great tradition of European music, and historical slate clean and strike out on new musical paths. Berio’s drew inspiration from everything from folk Luciano Berio

18 Eastman Notes | December 2003 Pianist Margaret Kampmeier ’85 was the guest soloist in Berio’s Points on the curve to ﬁ nd ...

Panel members Bernard Rands and Paul Griffi ths reminisce about “a man of immense intellect and insatiable curiosity.” arewhat matter” songs to the music of such predecessors as Monteverdi, Schubert, sorry that I had to cancel my visit to the Eastman School of Music, Brahms, Puccini, and Kurt Weill. (One of his last creations was a new which I regard as one of the most outstanding music schools in the ending for Puccini’s unfi nished opera Turandot.) By the turn of the 21st United States. Please send my regrets to the teachers and the stu- century, Berio was much honored, and regarded as one of the greatest, dents, and I hope to be there in the future to work with them.” most respected, and most infl uential contemporary composers. Even if Luciano Berio was not present, a good sense of his per- This exciting occasion had a sad coda. Berio originally planned to sonality and his importance came through in the panel discussion attend, but canceled due to poor health. Later in the month, on May preceding the May 2 concert. The panel, moderated by Democrat 27, Berio died in Rome, aged 77. One of his last communications was and Chronicle music critic John Pitcher, consisted of composition a brief letter to Director and Dean James Undercofl er: “I am terribly CONTINUED ON PAGE 20

PHOTOGRAPHS BY GELFAND-PIPER PHOTOGRAPHY (LEFT AND CENTER), WILL YURMAN (RIGHT) December 2003 | Eastman Notes 19 CONTINUED FROM PAGE 19 iscussing Berio in his book Modern Music, Paul Griffi ths department chair Robert Morris and Assistant Professor of Composi- describes “the physical sensuousness of his instrumental tion Ricardo Zohn-Muldoon; Assistant Professor of Conducting and writing and … dreamlike ambience of his music,” adding Ensembles Brad Lubman; Pulitzer Prize-winning composer Bernard Dthat, “Berio’s Sequenze, and his works for larger forces, all Rands; and noted music writer Paul Griffi ths. play on the physical, gestural power of superb performance.” The music Rands recalled his fi rst encounter with Berio. He very apprehensively received plenty of superb performances during this two-day festival. entered the composer’s house, to fi nd him sitting with Bruno Maderna – The Sequenze – fourteen virtuosic solo pieces for violin, fl ute, clar- his close colleague and fellow modernist doyen – playing Haydn sym- inet, trumpet, trombone and other instruments, written between phonies four-hands and laughing together. Rands also got to know Berio 1958 and 1995 – are among Berio’s best-known pieces, and classics of the contemporary repertory. On both days of the Fes- tival students presented midday performances of several Sequenze in the Main Hall. OSSIA presented the fi rst Berio Festival concert on May 1 in Kilbourn Hall, including the New York premiere of Korot for eight cellos (1998) by the Tarab Cello Ensemble, Sequenza IXa for solo clarinet (1980) in a remarkable performance by Jun Qian (MM ’01), and the rarely heard electronic piece Visage (1961), with the voice of Berio’s fi rst wife, the singer Cathy Berberian. The second half consisted of the remarkable A-Ronne, an a capella “documentary for eight singers,” which like so many of Berio’s works uses the full range of vocal resources, and perhaps invents a few of its own, to create a compelling musical-theatrical ambience. On May 2, Brad Lubman conducted Musica Nova and three alumni soloists in three demanding Berio works: violinist Courtney Orlando (DMA ’03) in Corale (1981); oboist Jacqueline Leclair (BM ’88) in Chemins IV (1975); and pianist Margaret Kampmeier (DMA ’90) in Points Oboist Jackie Leclair ’88 took a brief working vacation from the New York on a curve to fi nd ... (1974). In the second half, Lubman Philharmonic to perform Berio’s Chemins IV. led the Philharmonia in Berio’s Sinfonia (1968¬69), a well, as “a man of immense intellect and insatiable curiosity.” seminal work of contemporary composition and a spectacular end To Robert Morris’ question, “Is Berio modern, or postmodern, or to the Berio Festival. both, or neither?” Paul Griffi ths answered, “Twentieth-century com- When asked, “What is it like to conduct Sinfonia?” Brad Lubman posers were faced with the question, ‘How to be a perpetual revolu- answered straightforwardly, “It’s terrifi c!” tionary?’ Berio saw the past in another way.” Lubman fi rst heard Berio’s work when he “was 14 or 15 and a music “To my entire generation, Berio was a very important composer,” said nerd. Immediately, from the fi rst chord, I felt I had known this piece Ricardo Zohn-Muldoon. “He showed it is possible to relate to the past.” my entire life.” In 2000, he rehearsed the Sinfonia and met its com- “We had to come up with the word ’postmodern’ to describe what poser at a music festival in Germany, and he now had the chance to lead a complete performance. “The exciting thing,” said Lubman, “is that the stu- “Berio put the baby back in the bathwater. dents see this music is in their blood, in their intellect – it’s like conducting Beethoven’s Ninth or The Rite of He will not be pigeonholed.” Spring or La Mer or Mahler 2.” (All of them are quoted in the second movement of Sinfonia, which superim- this man was doing,” said Rands. In re-integrating past and contem- poses a myriad of musical and verbal phrases over a performance of porary musical styles, “Berio put the baby back in the bathwater. He the scherzo from Mahler’s Second Symphony.) will not be pigeonholed.” Speaking of Sinfonia’s vocal parts, Lubman said, “At one time only Rands also spoke of the “immediacy” of Berio’s music, adding, the Swingle Singers (for whom it was written) could do Berio’s spe- “You can always uncover another layer, like an onion.” Berio may cialized vocal writing – singing, acting, sounding like instruments. use everything from folk tunes to the most complex modernistic Now eight students can do it.” The students’ reaction? “This is an techniques, said Rands, “but the connections are what matter.” epic, a classic, a cult piece – and we’re playing it!”

20 Eastman Notes | December 2003 PHOTOGRAPH BY WILL YURMAN SCHOOL NEWS A treat for the eyes (and ears)

Eastman’s new website can simply be web standards, including those summed up as: set forth by the Americans with www.rochester.edu/Eastman Disabilities Act, making it ac- But for those readers who aren’t in front of cessible and functional for most a computer at the moment, allow us to elab- computer users. orate. After three years with an attractive, The entire redesign and pro- functional presence on the Web, Eastman gramming of the site, as well has updated and upgraded its website as the extensive planning and to keep the School at the forefront of research that went into its de- music leadership. The site was launched in velopment, was done in-house early October. by Eastman’s Ofﬁ ce of Commu- Aside from the site’s striking new design nications in conjunction with and improved functionality, two added fea- members of the Eastman faculty, tures make it especially interesting: the ad- staff, and administration. The dition of sound ﬁ les, and the use of “Flash” primary project team included animation software to enable movement creative arts director Amy Vetter, of images, so that users can more truly – web technician and programmer to use one of the website’s section headings – Noah Lapidus, and creative arts “Experience Eastman.” assistant Nathan Martel. “Sounds of Eastman” is a sampling of a dozen recently A more comprehensive concerts-and- “Our goal was to create an recorded performances featuring several of the School’s events section and beefed-up information enhanced, forward-thinking students and ensembles, including the Philharmonia, Wind for prospective and current students makes site that captures the essence Ensemble, Jazz Ensemble, and Chorale, among others. the site an even more integral resource for of the Eastman experience and the Eastman and general music communi- community,” said Vetter, who oversaw the horizon,” added Lapidus, “ we are pleased to ties. Even with the enhancements, Eastman’s project and established the initial design. have developed a vastly improved feature set site has improved compliance with current “While additional improvements are on the and code-base with this redesign.” Expanded website a virtual holiday gift to graduates

By Christine Corrado sional conventions, are posted here. citation texts and additional means for hon- Publications: Read all about Eastman in oring graduates of the School. Many of the enhancements to the East- print and online. Send an ePostcard: Pick a picture and send man website have long been on the wish lists Online Alumni Directory: A dynamic, a note to fellow alumni, prospective students, of alumni. The new and improved features interactive, secure resource designed to or family and friends. The gallery of ePostcards range from functional to fun. keep you connected socially and profession- will grow over time, so come back often. Benefi ts and Services: Links to the ex- ally with your alumni colleagues. Access in- Stay Connected: Until the interactive on- clusive benefi ts and services available only structions will be mailed in early 2004 to all line directory is launched in early 2004, use to Eastman graduates. alumni for whom we have valid mailing ad- this simple form to submit contact informa- Alumni Weekend: As October 15¬17, 2004 dress information. (If you received this issue tion and biographic data updates. approaches, watch this page for news about proof Notes in the mail, then be assured, you’ll Contact Us: As if all the online means grams, special guests, accommodations, regis- receive your access information.) for staying in touch with Eastman’s Offi ce tration, attendees, and more. Achievement Awards: Eastman’s Alum ni of Alumni Relations weren’t enough, you Events and Activities: See what’s hap- Achievement Award is bestowed upon can also reach the Alumni Relations staff by pening for Eastman alumni in Rochester and alumni who demonstrate exceptional musi- phone, mail, and in person. around the world. Details about events and cianship, scholarship, and leadership in the activities, ranging from celebrations in honor arts. Currently, the page boasts a lengthy ros- ➤ Christine Corrado is Director of Alumni of retired teachers to receptions at profes- ter of remarkable alumni; soon to come are Relations.

December 2003 | Eastman Notes 21 SCHOOL NEWS

Come and meet those dancing feet! The “Lullaby of Broadway” class in a number from 42nd Street. Summer 2003: Piano champs and production numbers

Since its inception, the Eastman School has offered summer classes each year, and 2003 was no exception: the halls bustled with students and teachers, and Kilbourn Hall hosted a concert or recital almost every day. There were institutes and classes for school music teachers, harpists, jazzers, percussionists, organists, and other musicians, along with community events like Eastman Summer Sings. The biggest concert event was probably during “Canadian Brass Weekend,” on July 12¬13. The world’s most popular brass quintet (whose members include tubist Chuck Daellenbach, BM ’66, MA ’68, PhD ’71) has become a ﬁ xture of Eastman’s summer program, offering master classes and an Eastman Theatre concert (well-attended this year, as always). The prizewinners of the 2003 Young Artists Piano Competition (left to right): Xin Jia of China; Eastman’s Young Artists Piano Competition Todd Yaniw of Canada; and Evan Shinners, of Salt Lake City. celebrated its seventh year in 2003. Twenty young pianists were narrowed down to six ﬁ - piano department and director of the compe- summer’s class culminated in a student con- nalists, and then three winners, announced tition. Jury chair Paul Pollei, artistic director cert on August 7. The 23 participants opened on August 6. First prize went to 18-year-old of the Gina Bachauer International Piano with (what else?) “Lullaby of Broadway” from Xin Jia from Shenyang, China; second prize Competition, proclaimed Eastman’s compe- 42nd Street, and followed it with numbers to Todd Yaniw, Waterloo, Ontario, Canada; titions “one of the wonderful international from Carousel, My Fair Lady, West Side Story, third prize to Evan Shinners of Salt Lake City. competitions of the world.” Into the Woods, and other favorite musicals. “It is encouraging to see such high levels of Another popular summer offering was And what about Summer 2004? For in- artistry, virtuosity, and commitment to the “Lullaby of Broadway,” a course in musical formation on classes, concerts, and special performance and study of piano music,” said theater performance techniques for all ages, events, check the Eastman Summer Session Douglas Humpherys, co-chair of the Eastman taught by Cecile Saine and Julia Izzo. This website beginning in January.

22 Eastman Notes | December 2003 PHOTOGRAPH COURTESY CECILE SAINE (TOP); BY GELFAND-PIPER PHOTOGRAPHY (BOTTOM) SCHOOL NEWS

“Choice, love and passion”: The good life in music and art

Samuel Adler celebrated his 75th birthday I would rather take my cue from a great with a return visit to Eastman, where he was teacher of composition, the French peda- chair of the composition department for many gogue Nadia Boulanger, who said: “The es- years. While here, he attended a concert of his sential conditions of everything you do must chamber music, and gave a talk in Kilbourn be choice, love, and passion.” … Hall; excerpts are printed here. I have always agreed with John Dos Passos: By Samuel Adler “People don’t choose their careers, they are engulfed by them.” My choice was music, but Behold! I set before you this day life and death, I never really chose it; rather, it engulfed me. good and evil; choose life that ye may live. I don’t remember any time when I did (Deuteronomy 30:19) not want to become a composer, and make people feel the life-changing power of music. This admonition is one of my favorite I composed song after song – all very bad, Biblical quotations, and gives us a good by the way, but each giving me the sense that springboard to examine the idea of the good I was communicating my innermost self … life. Notice that it is quite ambivalent when it comes to the actual admonition. It says Boys and girls of my high school class “choose life,” not “choose the good life,” al- joined me twice every week to play cham- though life and good are equated. I fi nd this ber music, and even to write works for omission interesting to ponder. It is easy to each other. We grew up as true friends, sur- contemplate life and death, but good and evil rounded by music and playing for the enjoy- are a different and qualitative item … ment of others. An evangelistic spirit was “We must live life, and not worry about born within me, as well as the other two of learning lessons from it”: last spring, Sam Spinoza said: “We do not desire a thing Mademoiselle Boulanger’s “essential condi- Adler returned to coach his chamber music because we adjudge it good, but on the con- tions,” namely love and passion. and impart some well-earned wisdom. trary, we call it good because we desire it.” Everywhere I went after that time, I re- This seems truly to set the standard of “good” membered that choice is the sovereign experiences, and has afforded me the op- for our time. We still consider the good life faculty of the mind, and that with love for portunity – yes, and the privilege – of meet- to be la dolce vita: that wonderful life de- humanity and passion for music, I would be ing so many people with whom I was able to picted in the movies, where we lie around able to leave the world a better place. share my excitement about life and the love on sunny beaches and have love-partners Is this an egotistic maxim? I don’t think so. of all humankind through the art of sound. who are beautiful, handsome, and rich. Or Now that I am 75 and have been in the fi eld This art gives us the power to make each life we retire early, lying in Florida’s sun and more than 60 years, I am still as excited about inexhaustible in its capacity for growth and playing a little golf or shuffl eboard for the the artistic life and what it can do to benefi t adventure. Through this art, if one lets one- rest of our lives … humanity as I was when I was a teenager … self truly experience it, one is able to establish all communication with the spiritual and To me, the life in music and in art is the At the premiere of my First Piano Concerto the transcendental in life through the works opposite of this ideal. Isn’t it true that suc- at the Kennedy Center in Washington, I sat of the past and the present. cess is spending your life doing your own in the audience behind a well-dressed couple. I am an artist who feels that we must dare thing and being remunerated for it? You At the end of the fi rst movement, which is to live life, and not worry so much about fi rst learn your art, craft, or occupation, then pretty energetic and triumphant, the man learning lessons from it. Our only worry you earn something for it, and you constantly turned to his wife and said: “Man, this guy should be, as Albert Schweitzer put it: “The better yourself so that you can serve human- must be on drugs!” tragedy of life is what dies inside a person ity in the most effective way possible. That, He was right! But my drug was music, while he/she lives.” Music can contribute to to me, is the satisfi ed life. which has provided a life full of satisfying never letting this happen.

PHOTOGRAPH BY GELFAND-PIPER PHOTOGRAPHY December 2003 | Eastman Notes 23 SCHOOL NEWS

Two Eastman legends Maria Luisa Faini: Joseph Mariano A personal Joseph Mariano is 92 years old, but he trav- remembrance eled to Rochester as the School celebrated his 40 years of teaching several generations By Vincent Lenti of fl utists. Perhaps in response to an almost insatia- November 15 was “Joseph Mariano Day,” and ble desire to “make music,” Maria presided besides the unveiling of a beautiful por- during her earliest Eastman years over what trait of the legendary fl utist (painted by his became known as “Faini’s Follies.” These grandson, Michael Vezza), Mariano also took took place each Sunday in my apartment on part in a public interview, a master class with Prince Street, next to the men’s dormitory. undergraduate fl utists, and a panel discus- Precisely at noon, she would arrive in her sion on “Winds of Change” with three other little Volkswagen, armed with an enormous Eastman legends: clarinetist Stanley Hasty, pile of chamber music and an ample supply hornist Morris Secon, and bassoonist David VanHoesen. of cigarettes. After putting on a pot of her beloved caffé espresso, she would go to the Stein- The whole magnifi cent day ended with a concert by the Eastman Chamber way piano and begin playing chamber music Orchestra conducted by Neil Varon. Opening very appropriately with Mozart’s with any students who wanted to stop by and “Magic Flute” Overture, the concert also included Nielsen’s Flute Concerto, per- enjoy the experience of exploring the litera- formed by Eastman Flute Competition winner, sophomore Hilary Abigana. ture for strings and piano. These students “Mariano Day” was the idea of Professor of Flute Bonita Boyd, a Mariano pupil and came in increasing numbers each week. something of an Eastman legend herself. It was truly a national event: Boyd had After about eleven hours of playing, with the help of dozens of other Mariano pupils who are famous teachers and orches- only a few brief pauses to light a cigarette tral musicians all over the United States, and who gathered to honor him. or quickly down a cup of caffé espresso, she would glance at her watch and note that it “We have waited more than 30 years to bring Mr. Mariano back to honor him and was now past 11 p.m. This would prompt her celebrate his massive artistry,” says Boyd. “As one of the greatest artists on any to call a close to the evening by proclaiming instrument, he truly has become a legend in his own time, while caring enough about that it was now time to play the “ar-kee-doo- others to pour himself out as a teacher.” kee,” which everyone soon learned was the “Archduke” Trio of Beethoven. Thus ended Orazio Frugoni each and every “Faini’s Follies,” like some sort of religious ritual at the end of twelve Orazio Frugoni, a busy concert hours of music making. pianist who also made some I am sure that there are many Eastman notable recordings of unusual alumni who recall those chamber music repertory, taught at Eastman marathons with great affection. Everyone from 1952 to 1967. Upon retire- was welcome, and if you happened to get ment he relocated to his native lost in the Brahms Quintet, she would man- Italy, but never returned to age to keep playing her part while solfèging Eastman before his death in 1997. yours until you were able to fi nd your place Hence he was a famous name and resume playing. but somewhat shadowy fi gure to When I received news from Rome that many current Eastmanites. But that changed on September 16, when an enthusi- Maria had died, I was immediately fi lled astic group of Frugoni pupils converged at Cominsky Promenade for the unveiling with memories of those chamber music mar- of a handsome photograph of the pianist in his prime. Among the guests was athons, for they represented the absolute joy Professor of Piano, School Historian, and Frugoni pupil Vincent Lenti, who said which music gave to her, and the joy that she “It was very gratifying to see Orazio Frugoni receive offi cial recognition after all in turn shared with so many others. these years – and to celebrate a remarkable life and career.” IN TRIBUTE: Maria Luisa Faini obituary, 37

24 Eastman Notes | December 2003 SCHOOL NEWS

Marsalis and Fagan open tour at Eastman

Eastman’s fall semester and Rochester’s cultural season commenced with a special opening – the kickoff tour performance and 10th anniversary reunion of Wynton Mar- salis’ Griot New York with the Garth Fagan Dance Company. Griot New York, termed an “urban ballet” by composer Marsalis and choreographer Fagan, was performed to a sold-out Eastman Theatre audience on Saturday, September 6. Among the crowd were several Eastman CED students from the Eastman Youth Jazz Orchestra. “They loved it!” says CED Direc- tor and EYJO director Howard Potter – and they also loved an afternoon master class with Marsalis, who got to know members of the group when the orchestra played in Lin- coln Center’s “Essentially Ellington” Festival last May. Later that evening, the students also got to hear Marsalis and his septet in an informal jam session at Montage Grille, after the show. “It was an exciting and motivating experience,” says Potter of the students’ session with the Grammy and Pulitzer Prize-winning musician. It was an exciting afternoon for both students and teacher: “Wynton had to be Wynton Marsalis makes a musical point for Nick Finzer, a senior at Hilton High School and dragged out the door after a couple of hours!” a trombonist in the Eastman Youth Jazz Orchestra.

A director’s tale Not long after his Convocation Address, Director and Dean Jim Undercoﬂ er displayed his talent for delivering other people’s words, narrating Stravinsky’s music theater piece The Soldier’s Tale. For the September 18 Kilbourn Hall performance, Undercoﬂ er was joined by Oliver Henderson (BM ’03) as the Soldier and WXXI-FM music director Julia Figueras as the Devil. Master’s student Brian Russell conducted seven instrumentalists in Stravinsky’s acerbic score.

PHOTOGRAPHS BY GELFAND-PIPER PHOTOGRAPHY (TOP LEFT, BOTTOM RIGHT); AMY VETTER (BOTTOM LEFT, TOP RIGHT) December 2003 | Eastman Notes 25 SCHOOL NEWS

Anthony Dean Griffey in Glimmerglass Opera’s The Good Soldier Schweik. An operatic connection: Glimmerglass and Eastman The Eastman School has developed a relationship with one of America’s most exciting opera companies: Glimmerglass Opera, located in Cooperstown, New York. This year, the collaboration grew even stronger, with acclaimed performances by Eastman alumni, and an opera commission. Tenor Anthony Dean Griffey (MM ’01) played the title role in Robert Kurka’s The Good Soldier Schweik. Both Griffey and the seldom- performed satirical opera (ﬁ rst performed in 1957 at the New York City Opera) were a big hit with Glimmerglass audiences. (Griffey will return to Eastman March 23 for a Kilbourn Hall recital.) Tenor John McVeigh (BM ’93) was also well received at Glimmerglass as Don Ottavio in Mozart’s Don Giovanni. A Dream of the future Glimmerglass has also announced the 2006 premiere of Stephen Hartke’s Boule Eastman Opera Theatre advertised its spring production of Benjamin Britten’s de Suif, or The Good Whore, based on a de A Midsummer Night’s Dream as, “Shakespeare as you’ve never seen it before,” Maupassant story. The Hanson Institute for and not without reason. Director Steven Daigle set this adaptation of Shakespeare’s American Music commissioned the opera. comedy not in a never-never fairyland, but in a gritty futuristic landscape, “40 years Hartke, born in 1952, has become one after a catastrophic event.” The visually compelling presentation was full of funky, of the most acclaimed American compos- imaginative touches from designers Mary Griswold (scenery), Shelley Alexander- ers; the New York Philharmonic recently Cornia (costumes), and Nic Minetor (lighting). Here we see Alexander-Cornia’s premiered his Symphony No. 3 under music costume sketch for the characters of Oberon and Puck. director Lorin Maazel, and CDs of his music recently appeared on Naxos and ECM.

26 Eastman Notes | December 2003 PHOTOGRAPH COURTESY GLIMMERGLASS OPERA SCHOOL NEWS

Lullypalooza! A 17th-century rediscovery in Kilbourn

It’s carnival season in France, 1675. Ridi- cule and liberties abound, everyone is in disguise, and nothing is as it appears. To celebrate this joyous season of masquerades, Louis XIV’s incomparable court composer Jean-Baptiste Lully is premiering Le Car- naval Mascarade, an entertaining musical theater pastiche taken from several of his favorite earlier works – often based on the playwright Molière’s brilliant satires – at the newly founded Paris Opéra. Fast-forward just over three centuries to 2003, a time when reality TV pervades, ridi- cule and irony are everywhere, and again, nothing is as it appears. How appropriate that a fully-staged and costumed Le Carna- val Mascarade was again prepared and performed – for the fi rst time since 1700 – in a collaborative effort between the Eastman School of Music and Cornell University. “Le Carnaval Mascarade careens wildly between genres,” says Cornell’s Rebecca Har- ris-Warrick, who researched and revived the piece. “Sung in four languages, it looks like a In a highlight of Le Carnaval Mascarade, baritone Paul Shipper played The Grand Mufti in ballet and it sounds like an opera; you laugh, a scene from Molière’s Le bourgeois Gentilhomme – a role Lully himself would have played. in turn, at the satire of Molière, and then at the antics of commedia dell’arte characters.” Harris-Warrick and director Beth Milles de- The musical styles refl ect the text: a polyglot serve credit for making this patchwork fl ow mix of French, Spanish, and Italian idioms. evenly and sensibly … Music director Paul Lully’s music is lively and varied, and in one O’Dette led his period ensemble with polish, brief comic scene accompanied by a simple, vigor and deeply felt emotion … Choreogra- insistent bass sequence, one might be for- pher Ken Pierce deserves special credit for given for thinking that this French Baroque reconstructing Lully’s lost dances with grace, master invented rock ’n’ roll. taste, and believability.” O’Dette and East- In producing the piece, Harris-Warwick man’s Collegium Musicum also played music was joined by another expert, Eastman pro- from Le Carnaval Mascarade in the Rochester fessor and renowned lutenist Paul O’Dette, Early Music Festival on November 8. who directed the orchestra of strings, winds, This production of Le Carnaval Mascarade two harpsichords – and, of course, lute. also highlighted Eastman’s growing presence (O’Dette was also acclaimed at last summer’s in the early-music fi eld, refl ecting increasing Boston Early Music Festival for his direction scholarly and popular interest in this area. of another Baroque rarity, Johann Georg Con- Starting in fall 2004, the School will offer radi’s 1691 opera Ariadne.) MM and DMA Performance and Literature Le Carnaval Mascarade was performed to degrees in Early Music, Emphasis in Lute an enthusiastic sold-out audience in Kil- and Historical Plucked Instruments, pend- bourn Hall on October 3, and was repeated ing fi nal approval by the National Asso- October 4 at Cornell’s Barnes Hall. In his As Louis XIV’s favorite composer, the Italian- ciation of Schools of Music and New York review, the Rochester Democrat and Chron- born Jean-Baptiste Lully (1632–1687) created State. (See “Degrees and Programs” on the icle’s John Pitcher wrote, “Producer Rebecca many operas, ballets – and enemies. Eastman website for details.)

PHOTOGRAPH COURTESY CORNELL UNIVERSITY December 2003 | Eastman Notes 27 SCHOOL NEWS Emmy winner joins ESM Board of Managers A new member of Eastman’s Board of Man- agers, composer/arranger/trumpeter Jeff Board members Beal (BM ’85) was welcomed at his fi rst George W. Hamlin IV, chairman board meeting in October 2003. Jeff Beal * Beal has become familiar with the na- Peter O. Brown tional spotlight, recently winning his sec- Pinny Cooke ond Emmy Award this year for his score for Thomas H. Jackson (ex offi cio) the USA Network television series Monk. In Martha J. Kirchenbauer Ellison * spring 2003 he won his fi rst Emmy for scor- John Fuyuume * ing the TV documentary Peggy and Dorothy. Gerald Gaston Beal fi rst received national attention while Daniel E. Gill still an Eastman student, as the recipient Karen Noble Hanson of an unprecedented 11 awards from Down Henry Hwang Beat magazine for his recordings as a jazz Georganne Mennin * trumpeter, composer, and arranger. He has Harry P. Messina, Jr. remained productive in all three fi elds, and Martin E. Messinger just released his seventh solo CD as a trum- Cathy E. Minehan (ex offi cio) Jeff Beal, with his wife Joan, after receiving peter, Alternate Route. Ronald J. Paprocki (ex offi cio) his second Emmy for the music for Monk. An eclectic composer, Beal is fl uent in the Charles E. Phelps (ex offi cio) diverse languages of jazz, classical, contem- mentary chronicle of China’s occupation of Ronald Salluzzo porary, electronic, and world music. Recent Tibet with a score by Beal, was screened at Betty Strasenburgh * work includes acclaimed scores for the fea- the New York, Boston, San Francisco, and Jeff Tyzik * ture fi lm Pollock, the HBO movies Door to Toronto Film Festivals. His concert works in- James Undercofl er (ex offi cio) * Door and The Passion of Ayn Rand, and the clude a string quartet, Things Unseen, written G. Robert Witmer (ex offi cio) HBO series Carnivale. He has completed a for Eastman’s Ying Quartet. Jeanne Wolf full orchestral score for Buster Keaton’s si- Beal resides in southern California with lent-fi lm comedy The General. In September his wife, soprano Joan Beal (BM ’84), and Tibet: Dragon in the Land of Snows, a docu- their son, Henry. * Eastman alumnus

Snapshot: 2003 freshman class Here is a look at this year's freshman class at Eastman. Altogether, 149 students – including eight transfer students – were enrolled this fall.

Enrollment Places of origin Out of 896 applicants . . . Of the 149 enrolled students, 119 came from 33 states ...... and 19 came from 9 countries

NH (1) WA (1) Canada (2) VT (1) ME (1) Japan (1) OR (3) MN NY (22) (2) WI Macedonia (2) MI (6) Poland (2) } (3) IA (2) PA (8) MA (1) NE (1) OH NV (1) IL IN CT (6) People’s Republic of China (3) . . . 149 students were enrolled (2) (7) CA CO (2) (8) MO VA (5) Russia (1) (7) (1) = 50 NC (2) Singapore (2) TN (2) AZ (1) NM (1) OK (1) South Korea (5) AL GA SC (3) Of those, (1) (3) United Kingdom (1) 80 69 TX (7) 53.7 men women percent FL (5) were men. Complete ﬁgures were STATISTICS PROVIDED BY ADRIAN DALY, unavailable at time of printing. ASSOCIATE DEAN FOR ADMISSIONS AND RETENTION

28 Eastman Notes | December 2003 DEPARTMENT NEWS

The Demon Barber of Gibbs Street: Eastman Opera Theatre’s fall production was Stephen Sondheim’s “musical thriller” Sweeney Todd. The Rochester Democrat and Chronicle called the production “the most entertaining and satisfying Halloween treat you’re likely to ﬁ nd.” Voice

By Carol Webber the continuation of the work so important portions of the dark subject matter. Brilliant to him here at Eastman. staging kept the chorus involved in every as- No one would have believed that this arti- Robert McIver is the new chair of our pect of the show, including set changes, audi- cle about the Voice Department would have department, relieving John Maloy, whose ence involvement, and powerful action from to begin with the shocking news of Bill Mc- lengthy service as chair has shaped and de- each individual as well as from the group as Iver’s death from pancreatic cancer, a quick fi ned our collegiality and excellence. As Bill’s a whole. Musical Director Benton Hess pre- and cruel disease. Just 60, Bill was at the brother, these past few months have been ag- pared the chorus’s compelling sound, and pinnacle of his teaching career, serving as onizing for Bob, yet we know he is inspired provided the nuance and timing necessary president of NATS and contributing in every by Bill’s legacy, and his dedication to the best for this challenging score. Both these men way to our work here and to the ethic of our for us and our students is complete. Bob has are busily engaged in their profession outside profession worldwide. also been guest master class presenter for Eastman as well: Steve running the extraor- It’s been diffi cult to go about our business, the Army Chorus. dinarily successful Ohio Light Opera (which but Bill would be the fi rst to say we must get Eastman Opera Theatre just closed a stun- was recently honored by Northern Ohio Live on with the work at hand. It’s impossible to ning production of Sweeney Todd. Led by for its role in preserving operetta during the adequately pay tribute to him as part of a gifted principals in major roles, the show past 25 years); Benton guest conducting for short article, so we ask you to please read his starred the chorus. Stage Director Steven Lyric Opera Cleveland and in Urbania, Italy. obituary (page 37), and consider a contribu- Daigle’s use of a large chorus of students was Our newest colleagues, Robert Swensen tion to the scholarship fund established in extraordinary for its architecture, emotional and Kathryn Cowdrick, are active in dis- his name. We do our best to honor him in depth, and commentary on the mythic pro- CONTINUED ON PAGE 30

PHOTOGRAPH BY GELFAND-PIPER PHOTOGRAPHY December 2003 | Eastman Notes 29 DEPARTMENT NEWS

CONTINUED FROM PAGE 29 performing together in signifi cant venues. Professor Humphrey also serves on the faculty tinguished performance careers, as well as At New York City Opera last month, John of Marlboro in the summer, and maintains an bringing us their considerable gifts as teach- McVeigh and Jennifer Aylmer led the cast of active performance and teaching career. ers and colleagues. Robert performed the in- Magic Flute as Tamino and Pamina. These Involved in every aspect of Eastman’s mis- augural recital for the Eastman Faculty Artist two studied not only with Ms. Shane, but sion, the voice faculty provides signifi cant Series in September, featuring a performance also with John Maloy (McVeigh) and Machi performance opportunities for its students of Britten’s Canticle No. 2, Abraham and Isaac, Toribara (Aylmer). Former Webber students in regular department recitals in Kilbourn with his 10-year-old son Matthew. Coming up Tom Meglioranza and Arisa Kusumi were Hall and in a vigorous opera scenes program, are a New York recital in Merkin Hall, re- both in the fi nal rounds of the Concert Art- as well as the regular degree recitals and citals and master classes in Beijing, and the ists Guild and Joy of Singing competitions in opera productions that are part of the fabric Beethoven Missa Solemnis in Milan with Mae- New York City. Baritone Meglioranza won a of Eastman’s and Rochester’s rich musical stro Riccardo Chailly. Kathryn is enjoying Management Award and is now represented life. Again this fall, the Friends of Eastman great success in opera roles with New York by Concert Artists; soprano Kusumi won the Opera, an ever-growing community support City Opera, as well as Fort Worth, Tulsa, and opportunity to work in Switzerland with a organization, sponsored a competition offer- the Lake George Opera Festival. distinguished group of artists, and was se- ing signifi cant monetary awards. This year’s Russell Miller, coach and teacher of our lected by Thomas Quasthoff to appear in a competition, on November 22, was judged song literature courses, has been concert- prestigious public master class. Both these by Christopher Hahn, artistic director of the izing as well, appearing in recital this fall young artists were in the Marlboro Festival Pittsburgh Opera Company. with contralto Susan Shafer, and soprano this summer. Master class guests this year include (and Eastman alumna) Rachelle Gerodias. As has been the case for several years now, American song composer Richard Hund- In this season’s Kilbourn Hall series, he will our department is full to overfl owing. An ley; American mezzo Jennifer Larmore, a be performing with the Los Angeles Phil- unexpectedly high enrollment has temporar- former student of Robert McIver; and tenor harmonic’s fi rst cellist (and former faculty ily created an entire new studio, and we are Anthony Dean Griffey, Kilbourn recitalist member) Ronald Leonard in November, vio- fortunate to be able to continue the excellent and former student of John Maloy. linist Lynn Blakeslee in February, and cello teaching of Constance Haas, who came to us The faculty and students will also benefi t professor Alan Harris in March’s Virtuosi as Prof. Webber’s sabbatical replacement last from the master classes that are part of any concert. Miller was rehearsal and recitative academic year. Prof. Haas comes to us from the voice faculty search. We have just announced pianist for last summer’s production of Don University of Wisconsin at Milwaukee, and has out search for two master teachers, and ask Giovanni in Urbania, Italy, in collaboration just returned from teaching American singers for your support and good wishes as we look with Benton Hess and featuring fi ve Eastman performing at the Paris Opéra. Stepping into to a future of excellence and commitment to voice students in leading roles. the sudden void created by William McIver’s the highest standards for our terrifi c young Rita Shane and Carol Webber are enjoy- untimely death is the distinguished American singers. ing the pursuits of students, including some tenor Jon Humphrey. Recently retired from lovely coincidences of former students the University of Massachusetts at Amherst, ➤ Carol Webber is professor of voice.

Institute for Music Leadership

By Ramon Ricker Welcher and Roberto Sierra, guitarist Man- great distances can be involved.) Bill Wil- uel Barrueco, violinmaker James McKeen, liams traveled to Rochester for seven classes Building upon its successful Internet2 and Academy of St. Martin-in-the-Fields Or- and presented seven more from New York experiments in 2002 with the Royal Scot- chestra clarinetist Andrew Marriner. City using I2. His course, “Performance En- tish Academy of Music and Drama, where With this experience in place the Institute hancement Seminar,” was very popular and Eastman students and teachers interacted for Music Leadership (IML) launched its ﬁ rst immediately ﬁ lled. in real time with their European counter- regularly scheduled course using I2 technol- The next step for the IML will be to offer parts, the IML moved ahead in 2002¬03, ogy. (Internet2 technology allows for large courses that exclusively use I2. This makes to engage in similar activities with the New amounts of information to be transferred vir- for some exciting possibilities. World Symphony (NWS) in Miami, Florida. tually in real time. For musicians it allows On a related note, the IML has developed Eastman students participated in NWS mas- us to have interactions that seem as natural a series of six courses that it intends to offer ter classes and rehearsals of composers Dan as possible even though video monitors and in the Arts Leadership Curriculum and on-

30 Eastman Notes | December 2003 DEPARTMENT NEWS

line to professional orchestral musicians and Arts Leadership Program speakers for Eastman students. The courses are: the fall semester included noted writer ◊ Artistic Decision-Making on music Greg Sandow, who addressed the ◊ Negotiating an Orchestra Contract problems of “Classical Music in an Age of ◊ Orchestral Musicians as Education Pop” to a large crowd in Ciminelli Lounge. Innovators ◊ Understanding and Mastering Leader- lic, representing Eastman at the 50th an- ship Roles for Musicians niversary celebration of the founding of ◊ How Economic Conditions Affect Spend- the Janácek Conservatory of Music. East- ing for Music in America man’s presence on the Internet had made ◊ Musician’s Health Issues the Czech conservatory aware of the IML, Market research has indicated that there and the rector of the conservatory, Milan is a high level of interest among ESM alumni Báchorek, invited Dr. Ricker to speak to and professional orchestral musicians for students, administrators, and faculty about these courses and that presenting them via new programs and Arts Leadership course the Internet is appealing. Negotiations are offerings at ESM. The resulting discussions currently underway to select a vendor to Philharmonic Orchestra’s production and were lively and informative. As the Czech prepare them for online presentation. Stay artistic administration departments); Cor- Republic transitions from a communist so- tuned as this develops. rina Lynch (Milwaukee Symphony Or- ciety to a capitalistic one, musicians are real- Eastman students receiving funding from chestra); Philip Palmer (Disney Theatrical izing that entrepreneurial skills are perhaps the Catherine Filene Shouse Arts Leadership Productions, NYC); Jill Pritchard (WXXI even more necessary there than they are in Program for 2002¬03 were Sean Connors Radio, Rochester); Sarah Shumway (School America. They were receptive and eager to (percussionist, for summer CED study); of Improvisational Music, NYC); Christian learn how recent educational developments Kelly Dey (Knoxville Symphony Orchestra); Widjaja (Sony Corporation, Taiwan), and at Eastman, through the IML, might be appli- Brian Dredla (Young Audiences of Roches- Widya Widjaja (Garuda Film, Jakarta). Lisa cable to their institution and to Czech society. ter); Chisato Eda (Performing Arts Medical Dixon, Miranda Dohrmann, Rachel Roberts, Of course it wasn’t all talk. The event also Association Conference, Aspen, CO); Ben- and Christian and Widya Widjaja received featured concerts and receptions. In addition, jamin Gateno (Two Fish Recording Studios, special opportunity grants to attend the As- Dr. Ricker gave a saxophone master class and Mankato, MN); Juliet Grabowski (Summer sociation of Performing Arts Presenters Con- performed with a faculty jazz group. Institute for Arts Management Conference, ference in New York City in January 2003. Amherst, MA); Michelle Lin and Rachel In September, IML Director Ramon ➤ Ramon Ricker is director of the Institute for Roberts (internships with the Rochester Ricker traveled to Ostrava, Czech Repub- Music Leadership and professor of saxophone.

PHOTOGRAPHS BY KURT BROWNELL December 2003 | Eastman Notes 31 DEPARTMENT NEWS

Music Theory

By Steven Laitz In addition to Bob Morris’ continued con- feedback and more effi cient use of the prac- tributions to the Theory Department as an tice room scenario. It’s hard to imagine that yet another year affi liate faculty member, we welcome two Steve Laitz’s textbook The Complete Musi- has slipped through our fi ngers. However, new affi liate faculty members from the Mu- cian: An Integrated Approach to Tonal Theory, this doesn’t mean that Eastman’s theory sicology department: Gabriela Ilnitchi and Analysis, and Listening was published, as was department has been sitting on its thumbs. Martin Scherzinger. Gabriela offers courses his article “Paths to Musicianship” in Musi- We have made two new faculty hires. Assis- in medieval and Renaissance music. Martin cianship in the 21st Century, edited by Sam tant Professor Jeannie Guerrero comes to has made major contributions to the fi eld of Leong. Betsy Marvin’s The Musician’s Guide to us from Harvard University, where she has music theory, including his award-winning Theory and Analysis (with aural skills supple- just completed her PhD with a dissertation publications (he won the SMT’s Emerging ment) was also published this year. on the music of Luigi Nono. Though we are Scholar Award in 2002). Professors Ilnitchi William Marvin’s article on Die Meisters- saddened that our long-time colleague at the and Scherzinger comfortably and elegantly inger will appear in the Journal of Musicology, River Campus, Dan Harrison, has taken a po- ford the divide between music theory and and his paper on Der fl iegende Holländer will sition at Yale, the River Campus has hired musicology, and, in so doing, are instru- appear shortly. Marie Rolf’s transcription from that institution Matthew BaileyShea, mental in drawing together two intellectual and commentary of Debussy’s “Les Papil- who will be teaching a seminar at Eastman endeavors that, many would argue, never lons” will appear in January, and her edited on a regular basis. Matthew, like Jeannie, should have been divided in the fi rst place. volume of Debussy’s Vasnier Songbook and has just fi nished his PhD, with a disserta- The faculty has been extraordinarily pro- Ariettes oubliées will appear as part of the tion on sentence structures in 19th-century ductive this year. Matthew Brown has critical edition. music. One additional tenure-track position completed his book on Debussy’s impact on Ciro Scotto is completing papers on tim- in the department remains to be fi lled. The popular music, and three articles in the new bre in rock music, sound color motives in department has also created a new full-time edition of the Harvard Dictionary of Music. Metallica, and a synthesis of K-nets, set in- instructor’s position for Aural Skills, fi lled Any day now his book on Debussy’s Ibéria clusion, and K/Kh relationships. Davy Tem- this year by Greg Ristow. will be in bookstores, and we look forward perley (along with Eastman graduate student Other changes in our faculty include the to his Explaining Tonality: A Schenkerian Per- Chris Bartlette) published on meter and wonderful news that Betsy Marvin will re- spective from the University of Rochester parallelism in Music Perception, and his ar- turn to the department full-time after hav- Press. Norman Carey’s major article on scale ticle on end-accented phrases will appear ing served as Eastman’s dean of academic theory will appear in Journal of Music Theory, in Journal of Music Theory. Bob Wason has affairs for the past fi ve years. Betsy also and Joel Galand’s critical edition of the pre- published in several international journals, completed her term as president of the So- viously unpublished Weill/Gershwin oper- including the Swedish Journal of Musicology ciety for Music Theory; she will serve one etta The Firebrand of Florence has just been and Irish Musical Studies. additional year as past president. Finally, two released on CD, in a performance under the The ongoing series of bi-weekly graduate of our colleagues, Norman Carey and Ciro direction of Sir Andrew Davis. symposia feature lectures by both students Scotto, were promoted to associate profes- Robert Gauldin has forthcoming articles and faculty. And the Eastman/University of sor last spring. in the Journal of the American Liszt Society, Rochester/Cornell University Music Cog- This year’s SMT Conference was a huge Music Theory Spectrum, and Journal of Music nition Symposium plans four sessions this success. It became clear that Eastman domi- Theory Pedagogy, and he is completing the year, two in the fall and two in the spring. nates the fi eld: not only did many of our second edition of his Harmonic Practice in This year’s topics are probabilistic modeling current faculty and ABDs present papers Tonal Music. Dave Headlam continues his of music (including Bayesian models and or chair sessions; one had trouble fi nding groundbreaking work in computers with statistical learning), computer analysis of a session that did not include at least one plans to develop a website that explores genre and emotion from musical and lin- past graduate. the connection between Perle’s theories guistic samples, a session exploring the work The Society’s Emerging Scholar Award was and K-nets, and he continues his work of Caroline Palmer on expressive timing in presented to David Temperley, for The Cog- under the ægis of the Music Research Lab music and theories of musical expectation, nition of Basic Musical Structures (MIT Press, with research on the two-way interactive and a “research fair” of recent work in music 2001). A Special Citation was presented to “Musical Telepresence” system under an cognition by our graduate students. the Cambridge History of Western Music The- NSF ITR grant. In his “The Practice Room Other guest speakers in 2003¬04 include ory (Cambridge University Press, 2002), in of the Future,” Dave considers the devices Kofi Agawu, Joe Straus, Kryzsztof Penderecki, which Bob Wason has an impressive article. and information necessary for real-time and John Sloboda. Finally, Eastman will spon-

32 Eastman Notes | December 2003 DEPARTMENT NEWS

sor the annual meeting of the Music Theory written and aural components, and an position and analysis” and “musicianship.” Society of New York State on April 3¬4, 2004. emphasis on creative skills building that Detailed descriptions of the undergraduate The keynote speaker will be Harold Powers. includes regular compositional and impro- curriculum are on our website. We are restructuring the PhD require- visatory activities throughout the core. In ments, including moving the skills portion fact, even the somewhat off-putting names of ➤ Steve Laitz is associate professor of music earlier in the program. The ﬁ ve-semester the two undergraduate core components – theory and chair of the department, and an undergraduate curriculum has received an “written theory” and “aural skills” – have afﬁ liate faculty member in the chamber music extensive overhaul, with more integrated been updated and revived as “model-com- department. Organ

Based on faculty reports

The fi rst step in the Eastman Rochester Organ Initiative (EROI) is the acquisition of a historic organ built in Italy in the 1770s. Today, the Italian baroque organ represents the genesis and the essence of European baroque organ music. Gerald Woehl, of Mar- burg, Germany, has a collection of historical organs not yet restored, among them a full- size Italian baroque organ with a case probably originating in southern Italy. The signifi cance of this work of art requires its installation in a controlled, acoustically fa- vorable environment, accessible to the public. The Fountain Court of the University’s Memorial Art Gallery – a large, reverberant room on the second fl oor of the original Gal- lery building – is the ideal location in Roch- ester for this historic instrument. The Eastman School of Music has purchased this instrument, which will be completely re- EROI will place a historic Italian baroque organ in the Memorial Art Gallery’s Fountain Court. stored according to the most recent guidelines Below, an artist’s sketch of the organ, which will be installed in 2005. and conservation principles in the workshop of Gerald Woehl and Monica May in Marburg. St. Paul’s Church celebrated the From Peter DuBois, director of the It is now being studied, documented, and read- music ministry of David Craighead, Sacred Music Diploma Program: ied for its trip across the Atlantic in 2005. Professor Emeritus of Organ, “We are very pleased to announce At the EROI Festival 2003 from October with a gala concert and recep- that our fi rst four candidates 2¬5, the results of the documentation and tion on June 8. Performers for the Sacred Music Diploma, the restoration plan were presented, and a included former students and instituted in 2001, have suc- chamber organ, lent by Cornell University, current friends and colleagues. cessfully completed the re- was performed, giving the audience some David has held the position quirements. Lee Wright idea of an “18th-century organ sound” in of Organist at St. Paul’s was awarded his diploma at the Fountain Court. Also among the EROI since 1955, and retired in the University of Rochester events were a pipemaking demonstration, a August of this year. Also in Commencement ceremo- lecture by Craig Whitney, author of the new June, Craighead was named nies on May 18, and Daniel book All the Stops, and recitals by David an honorary life member of Aune, Christian Lane, and Higgs, Hans Davidsson, William Porter, the Los Angeles chapter of the Crista Miller received their di- Paul O’Dette, and David Craighead. American Guild of Organists. plomas later.”

PHOTOGRAPH BY AMY VETTER December 2003 | Eastman Notes 33 DEPARTMENT NEWS

Community Education Division

By Howard Potter

Parents tell me that one of the many de- lights of sending their children to Eastman’s Community Education Division is hearing them say that studying here “makes them feel like they’re really going to college!” There are many fi ne community music schools across the country, but few are connected to conservatories, and even fewer are connected to one of the world’s great music schools. Since the beginning of our two great schools in the 1920s, the CED has employed collegiate musicians to teach its students. Also since its inception, many of the CED faculty have taught at both scholastic and collegiate levels concurrently here at Eastman. This unique pedagogic arrange- The “Eastman at Washington Square” concert series brings CED and ESM musicians together. ment of being both intergenerational and For example, Professor of Piano Tony Caramia and Dean of Students Phyllis Wade collaborated community-based is classic in its design, as in a jazzy tribute to autumn on October 23. it serves a wide populace while maintaining a sense of family and continuity. The Eastman Youth Gamelan, directed recitals and classes in theory and music his- Currently there are more than forty CED by graduate student Clay Greenberg, has tory, and CED lessons with a mentor teacher. interns teaching applied lessons, classes performed several times with the Eastman The fi nal project, a video of each Eastman stu- and coaching ensembles. Seventeen faculty Gamelan, and its rehearsals frequently in- dent teaching a CED student, provides a valu- members are also Eastman collegiate faculty. clude visits by college students. Louis Ber- able self-refl ection piece, and may become This means a CED saxophone student, for gonzi, co-director of the String Fellowship part of the student’s professional portfolio. example, could be studying with the same Program and Music Education collegiate When Eastman students observe and teach teacher as an Eastman college student. faculty member, says that the vision of this CED lessons, classes, and ensembles, they get In recent years the CED has worked hard ensemble is not only to create a model en- a taste of the joys that can only be discovered to add to these connections with the School semble but also “to get kids from School 17 of through teaching – that by teaching one can in meaningful ways. We are creating links the Rochester City School District, to SOTA become a better player, a better composer, a between our ensembles and those of the (School of the Arts), to Pathways, to Eastman, better master student. By interacting with School, and we have several new ones this and back again teaching in the city schools!” students of all ages, Eastman students learn year: Youth Gamelan, Youth Wind Ensemble, Groundbreaking changes are occurring in to appreciate, all over again, what those fi rst Youth Jazz Orchestra, Children’s Chorus, and CED classes as well. Margaret Henry, chair steps of study were like. When CED students String Fellowship Program. All interrelate of the CED Theory Department, forged an work with and alongside Eastman students, with their collegiate counterparts. For ex- important link between the CED and the they experience emerging artistic refi nement ample, several Jazz Studies graduate students School this year by making it possible for our right before their eyes and ears. have run sectional rehearsals and mentored scholastic students who take and pass a pre- Eastman Director and Dean Jim Undercofl er individual players of the Eastman Youth Jazz scribed set of theory courses to be awarded has spoken of his vision of a seamless curricu- Orchestra. Additionally, the Eastman Youth Eastman theory credit. lum, from the very first steps of music study Jazz Orchestra has performed several times Ruth Cahn, chair of the CED Woodwinds, through to the highest artistic refi nement. with the collegiate Jazz Ensembles. The Brass, and Percussion Department, teaches Strong links between our two strong schools EYJO shared the Eastman Theatre stage a collegiate Arts Leadership Program course – that’s what makes the seams disappear! with the Eastman Jazz Ensemble at this called “Joys and Opportunities of Studio year’s Rochester International Jazz Festival, Teaching.” Her course includes guest lec- ➤ Howard Potter is associate dean for and performed with the Eastman Jazz Lab tures by senior CED faculty, and requires community and continuing education, and Band in Kilbourn Hall on November 7. Eastman collegiate students to attend CED CED instructor in percussion and jazz.

34 Eastman Notes | December 2003 PHOTOGRAPH BY AMY VETTER DEPARTMENT NEWS

Piano

By Douglas Humpherys hosted by Marian McPartland. In addition to for Fleur De Son Classics (to be released in his annual participation at the Annual Scott 2004), and her earlier release Recital Gems In late October, Alicia de Larrocha graced Joplin International Ragtime Festival, he per- from Chautauqua (Fleur de Son 57956) was the stage of Eastman Theatre with a three- formed and taught at the International Work- greeted by Atlanta’s Classik Reviews: “Brava, day residency, including a series of four mas- shops in France, and has just completed a new Rebecca Penneys! This is the way the piano ter classes. Two of the classes were devoted to CD with Eastman trombonist Mark Kellogg. should be played – and recorded.” She pre- Spanish piano music, featuring student per- Douglas Humpherys traveled to Russia to sented concerts and master classes in Canada, formances of works by Albéniz, Granados, perform and adjudicate at the Rachmaninoff New York, California, Florida, Maryland, Turina, and Montsalvatge. Richard Goode in- International Piano Competition and Festival Pennsylvania, Tennessee, and Utah. In May, augurated this year’s Kilbourn Concert Series in Veliky Novgorod. Additional engagements Rebecca was named an exclusive “Steinway in October, performing works by Beethoven, Schubert, and Schumann. Last February, Paul Badura-Skoda presented a concert, a solo master class, and a chamber-music master class. In collaboration with the Rochester Philharmonic Orchestra, Eastman welcomed Pascal Rogé, Misha Dich- ter, Robert Levin, and Orli Shaham for master classes. A visiting professor in 2002, Anne Koscielny returned to Eastman to present a master class; English pianist and pedagogue Renna Kellaway visited Eastman for the second time as a guest teacher; and 20th-century music specialist Lisa Moore was in residency, concertizing, teaching, and coaching. In addition to their busy teaching schedules, members of the Eastman piano faculty continued to represent the School throughout the world in a variety of performance and teaching venues. Natalya Antonova recently presented “Spanish music is poetical but never sentimental,” said the great Alicia de Larrocha, shown concerts and master classes in Germany, and here reviewing Albéniz’s Navarra with senior Greg de Turck. returned to France for her annual summer festival engagements. Other activities in- included performances and master classes in Artist” by the venerable piano-manufacturing cluded venues in South Carolina and Utah, Tacoma, Washington, the Chautauqua Sum- ﬁ rm, celebrating its 150th birthday. where she was a guest artist for the Gina mer Festival, and at the Gina Bachauer Inter- After completing a sabbatical leave as visit- Bachauer Piano Foundation, performing a national Piano Competition. ing professor at the Shenyang Conservatory solo concert, and participating in outreach Fernando Laires will return to China to of Music in China, Thomas Schumacher re- programs for the public schools. direct an upcoming festival tour in three cit- turned to Japan, to perform and lecture on Eastman’s accompanying and chamber ies – Beijing, Wuhan, and Xiamen. Last sum- the piano music of Isaac Albéniz. He is cur- music programs, under the direction of mer, he participated as a faculty member at rently preparing a revised edition of Albéniz’s Jean Barr, were featured in a recent article the International Workshops in France and Iberia, for publication by Zen-on in 2004. He in International Piano. Additional engage- was recently featured in an interview in Key- gave recitals and master classes in Sweden ments took her to New Zealand and Biarritz, board Companion magazine. and Lithuania, and is scheduled to return to France, as a faculty member at the Interna- This summer, Rebecca Penneys celebrated Taiwan and China this spring. In addition, he tional Workshops. her 25th anniversary season as resident artist chaired the jury at the van Rooy Competition In May, Tony Caramia was interviewed at the Chautauqua Summer Festival with a for Music Excellence at Hart and presented and featured as a guest performer on National performance of Beethoven’s “Emperor” Con- master classes at Hart College. Public Radio’s syndicated program, Piano Jazz, certo. She recently recorded two new CDs CONTINUED ON PAGE 36

PHOTOGRAPH BY GELFAND-PIPER December 2003 | Eastman Notes 35 DEPARTMENT NEWS

CONTINUED FROM PAGE 35 he performed and taught at Ithaca College, and Keyboard Festival. She continued to Barry Snyder performed extensively in Bucknell University, Ball State University, serve as coordinator of the piano program England, including solo and chamber re- the Aria International Summer Institute, for the International Workshops in France, citals at the Lake District Summer Festival, and the MTNA National Convention. and inaugurated the ﬁ rst Distinguished collaborating with the Chilingirian Quartet, Nelita True adjudicated, performed, and Teachers Series at the University of Texas and with Eastman cellist, Steve Doane, in a presented master classes at the Lev Vlasse- at Austin. She presented recitals and master duo-recital recorded live by the BBC. In ad- nko Piano Competition in Brisbane, Aus- classes in British Columbia, Alberta, and at dition, he performed a recital with violinist tralia; the National Piano Competition in the Eastern Music Festival. Sylvia Rosenberg at Wigmore Hall in London. Singapore; the Horowitz International Piano Other performances included solo recitals in Competition in Kiev, Ukraine; and the New ➤ Douglas Humpherys is associate professor Germany and Iceland. In the United States, Orleans International Piano Competition of Piano and co-chair of the Piano Department.

Music Education

By Richard F. Grunow will appear in Symposium (Vol. 43), and her SMA Erie County In-Service in West Seneca, “Uncovering Preservice Teachers’ Reﬂ ec- NY; “New Directions in Instrumental Music” Our local MENC Chapter #50 has been tive Thinking: Making Sense of Learning to conference at Michigan State University in particularly active this year, under the able Teach,” appeared in the Bulletin of the Coun- East Lansing; and the NYSSMA conference leadership of President Ali Loomis and Grad- cil for Research in Music Education (Vol. 155). in Rochester. uate Student Advisor John Fetter. They have Kathy Robinson is the multicultural con- In August and September 2003, Assis- planned a full year of activities, including a sultant for Music Expressions, a new general tant Professor Kathy Robinson returned to variety of guest speakers and participation music textbook series published by Warner Kimberley, South Africa, where she is co- in the recent New York State School Music Brothers. Her “Collection of South African director of Umculo: The Kimberley Project. Association (NYSSMA) annual convention Folk Music,” featuring audio/video tape Her presentations on Umcolo and multicul- held in Rochester. Julia Kemp, a senior and made by South African Community Choirs, tural music during 2003 include the Society current president of the Collegiate Music has also been submitted for publication. for Ethnomusicology/CMS in Miami; the Educators in New York State (CMENC), During fall 2003, GIA Publications re- American Orff Schulwerk Association Na- presided over the student offerings at the leased Solo Book One-A/CD and Solo Book One- tional Conference in Louisville, KY; and the convention. Patricia Wheelhouse, PhD B/CD from Jump Right In: The Instrumental NYSSMA conference in Rochester. candidate in Music Education, was the re- Series, co-authored by Richard Grunow, This year Donna Brink Fox celebrates cipient of an Eastman Teaching Assistant Edwin Gordon, and Christopher Azzara. the 19th year of the baby classes she initi- Prize for her teaching of “Music for Special The CDs feature performances by Eastman’s ated in Eastman’s Community Education Learners.” Pat is now director for the Visual artist faculty and members of the Rochester Division (CED) at Eastman. This is also and Performing Arts in the Bedford Central Philharmonic Orchestra. Chris is also the the 12th year of the summer Orff course at School District. Robert Gardner, another principal author of Developing Musicianship Eastman, which she has spearheaded since PhD candidate, has joined the Music Educa- Through Improvisation, soon to be released by its inception. Professor Fox continues her tion department at Pennsylvania State Uni- GIA Publications. research supported by an MENC grant to versity in College Station. During fall 2003, Louis Bergonzi was the investigate preschool music practices in the Several members of the department re- guest conductor for Marquette University’s United States. The research is a collabora- ceived promotions during the recent aca- Orchestra Festival in Milwaukee; Iowa High tion with three colleagues: Rachel Nardo, demic year. Eisenhart Professor Donna All-State Orchestra; and the New York All- Indiana University/Purdue University; Lori Brink Fox became full professor of music State String Orchestra. He was also a pre- Custodero, Columbia Teachers College; and education, and Associate Professors Chris- senter at Midwest Band and Orchestra Clinic Diane Persellin, Trinity University. This year topher Azzara and Susan Conkling were in Chicago. Dr. Fox has also taken on the leadership role also granted tenure. Chris Azzara’s innovative approach to for the Eastman Colloquium. The faculty continues to publish in a teaching improvisation attracts a demand- In October 2003, Richard Grunow pre- number of important venues. Susan Conk- ing workshop schedule. During fall 2003 sented for the “Music in Contemporary ling’s “Envisioning a Scholarship of Teach- he presented for the Capital Area Music Education” class at Schenectady County ing and Learning for the Music Discipline” Educators Conference in Albany, NY; NYS- Community College (SCCC) in Schenect-

36 Eastman Notes | December 2003 DEPARTMENT NEWS

ady, NY where Dr. William Meckley (PhD North Texas, presented “Preparing Doctoral We are still contemplating a name change, ’85) is Chair and Professor of Music. Along Students for their Roles as Teachers” at the to the Department of Music Teaching and with conducting the jazz ensemble at SCCC, College Music Society’s 46th Annual Meeting Learning (MTL). The proposed name change Dr. Meckley is conductor of the Empire Jazz in October 2003, in Miami. As president-elect received the unanimous approval of alumni Orchestra, a professional group in the Al- of the New York State affi liate of the Ameri- who responded to the suggestion in the bany area. Fall 2003 also found Dr. Grunow can Choral Directors Association, she will be last Notes. Any additional suggestions are in the French West Indies, where he intro- participating in the Eastern Division Confer- welcome. Our mission has expanded to in- duced Jump Right In: The Instrumental Series ence in Boston in February 2004. As commis- clude instruction from birth through adult to the music teachers at the Harmony School sioner from the United States, she will also be education, with increased emphasis on un- on St. Barts. The invitation came from Paul participating in the International Society for derstanding the music teaching and learn- Merkelo (BM ’91), current principal trum- Music Educations’ Commission Seminar on ing processes for that expanding population. pet of the Montreal Symphony and artistic the Education of the Professional Musician The name change should signal the change director of the Harmony School. In Novem- in Barcelona, and the ISME World Congress in our mission. Because virtually all Eastman ber 2003, he delivered the keynote address in Tenerife, Canary Islands in July 2004. Dr. graduates will engage in music teaching and and made two additional presentations for Conkling also continues her guest conducting learning, it also refl ects our commitment to the Orange County Music Educators Asso- appearances with several Area All-State and the whole of the Eastman School and to the ciation in Central Valley, NY. He was also a All-County choirs throughout the Northeast. needs of contemporary society. clinician for the “New Directions in Instru- In closing, I would like to follow up on To those who may ask, we will still con- mental Music” conference at Michigan State two signifi cant changes that were proposed tinue to offer certifi cation in Music Edu- University. Mitchell Robinson (PhD ’99) is in my last Notes column – renovation and cation, Pre-K to Grade 12. As part of our now assistant professor of music education name change. With the recent acquisition expanding mission we are also in the pro- at Michigan State University and co-chair of 10 Gibbs Street and Eastman Place, many cess of developing additional certifi cation of the conference. In January 2004, he will in the Eastman community will be relocated. programs. present two sessions for the Florida Music While our renovation/relocation is not yet I will keep you informed of all of the afore- Educators Association in Tampa, FL and con- determined, I am pleased to announce that mentioned agendas. duct an instrumental seminar at Duquesne with the transformation of ET 207 from University, Pittsburgh. classroom to offi ce space, all six full-time ➤ Richard F. Grunow is professor of music Associate Professor Susan Conkling, along members of the Music Education Depart- education and chair of the music education with Dr. Warren Henry of the University of ment are fi nally in the same location. department.

Humanities

By Jonathan Baldo abroad. Jean’s travel consequently had the prove women’s situations. Several archives feel of a celebratory “Tour de France,” one in Paris gave her access to novels that have Achieving “abroad perspective” has been that just happened to coincide with Lance been long out of print, as well as book re- the departmental theme this year, which Armstrong’s. Unlike the celebrated cyclist, views. She admits to having been “amazed featured many trips to Europe for confer- Jean was able to coast most of the way – on to fi nd that women novelists in 1908 were ences, invited talks, and research. The ven- the euphoria following publication of her already talking about issues that seem so tures across the Atlantic allowed fi ve of our wonderful, acclaimed fi rst book. contemporary, including job discrimination, department members to exchange ideas In August she traveled to Belfast to par- sexual harassment, date rape, and incest.” and points of view with scholars from Af- ticipate in the annual meeting of the Inter- Ernestine McHugh, our Himalayan stud- rica, India, Asia, Europe, and the Americas. national Federation for Research in Women’s ies specialist, was invited to present a paper Those of you who followed the weather fore- History. The highlight of the conference was at Oxford University on modernization and casts know that Europe was the hottest place a chance to compare notes with an Irish his- identity in Nepal at a seminar on Tibet. The to do research this past summer. torian on attitudes toward reproductive panel, “Identity at the Margins,” focused on Jean Pedersen’s Legislating the French rights in Ireland and France in the 1920s. challenges to identity among the peoples Family: Feminism, Theatre, and Republican On the same trip, Jean launched her new of the Tibetan borderlands. The seminar Politics, 1870¬1920 was published by Rutgers research project on early 20th-century nov- formed part of a truly international confer- University Press in July, just before her trip els by feminist authors who hoped to im- CONTINUED ON PAGE 38

December 2003 | Eastman Notes 37 DEPARTMENT NEWS

ence, with participation by scholars from the Over the past two years she has been inter- and a former student for a performance of A autonomous region of the People’s Republic viewing directors and screenwriters in Ber- Midsummer Night’s Dream. of China, lamas and scholars from the exile lin and collecting production materials from Our specialist in American studies, Joan community in India, and researchers from the archives at Berlin-Babelsberg. Eventually Saab, for obvious reasons doesn’t need to across Europe and North America. she hopes her research will give a clearer pic- travel abroad to conduct her research. Be- Tim Scheie, Eastman’s French scholar and ture of how the collapse of the Eastern bloc, sides, she had other compelling reasons to specialist in French theater and the work of the end of socialism, and the beginning of stay close to home: the birth of her second theorist Roland Barthes, visited Rotterdam the Berlin Republic altered fi lm produc- son, Wilson, on April 18. Arriving three to attend the conference of the International tion in Germany. At a conference this fall weeks early, the precocious Wil checked in Association for Philosophy and Literature. at Humboldt University in Berlin, she pre- at 8.5 lbs, and he has broken the 20-pound His paper on the pleasure principle in cul- sented the fi rst results of her research, en- barrier in his fi rst six months of life. By her tural studies gave great pleasure to his au- titled “On Fools and Clowns,” and had the own admission, Joan was “too pregnant to dience. In Paris, he conducted research on privilege of introducing the noted German travel” over the past year. In addition to the Roland Barthes for his forthcoming book. He author, Kerstin Hensel, the keynote speaker baby, she managed to complete a book, For is currently preparing a paper on nationalism at the Humboldt conference. the Millions: The Desacralization of American in theater in France in the postwar years for a On a visit to England, I presented a paper Art, 1933–1945, and an article, “Art and Work conference in Liège, Belgium next summer. on the role of remembering and forgetting in the WPA,” for a book on American Visual Reinhild Steingröver traveled to Berlin in the formation of English national identity Cultures. Most impressive of all, Joan man- twice over the past year to continue her in Shakespeare and Fletcher’s Henry VIII – aged to do all of this while Wil and his sib- study of fi lm production during the unifi ca- the play that caused the fi rst Globe Theatre ling-cohort, 2-year-old Finn, created a din tion period: specifi cally, how the last three to burn down in 1613, when the fi ring of a that confi rmed Dorothy’s line in The Wizard years of feature fi lm production in the for- cannon in the course of the play set the of Oz: “There’s no place like home.” mer East German state-run studio refl ected theater’s thatched roof ablaze. I was thrilled the rapidly changing political climate in Ger- to visit the recently reconstructed Globe in ➤ Jon Baldo is associate professor of English many during unifi cation. Bankside, where my family and I met friends and chair of the Humanities Department. THE UNIVERSITY OF ROCHESTER PRESS New and forthcoming titles from our Eastman Studies in Music series Music’s Modern Muse: The Sea on Fire: Jean Barraqué A Life of Winnaretta Singer, paul griffi ths Princesse de Polignac The life and works of one of the sylvia kahan most diffi cult yet rewarding composers of modern times. A biography of Winnaretta Singer-Polignac,

heiress to the Singer Sewing Machine fortune, 1 b/w illus, 253pp, ISBN: 1580461417 who befriended and subsidized some of the Special Price: $56.25 most important musical and literary artists of the 20th century, including Stravinsky, Proust, The Music of Luigi Dallapiccola Ravel, Cocteau, and Colette. raymond fearns “As a frequenter in the 1950s of the last vestige of the Proustian milieu depicted The ﬁ rst English work dealing in detail with in Music’s Modern Muse, I can vouch for the authenticity and scope of the life and musical inﬂ uences of the Italian Sylvia Kahan’s very readable portrait.” — ned rorem, pulitzer prize-winning composer Luigi Dallapiccola (1904–1975). composer and author 1 b/w illus, 100 line drawings, 324pp 29 b/w illus, 576pp, ISBN: 1580461336, Special Price: $37.50 ISBN: 158046078X, Special Price: $67.50

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38 Eastman Notes | December 2003 IN TRIBUTE

A beloved teacher, meticulous scholar, and search out, perform, and publish music of Dennis Andal international adjudicator, Crozier champi- early Italian composers, an activity which Dennis K. Andal, a oned the music of contemporary composers. remained an active area of Faini’s research longtime member of Her students included many distinguished and performance. the Community Edu- organists, and she conducted master classes After winning both the Muzio Clementi cation Division fac- throughout the United States. Crozier co- and Camerata Napolitana Competitions, ulty, died on May 21. edited several editions of the Method of Faini made her debut with Orchestra de A native of Minne- Organ Playing, written by her husband, Har- Santa Cecilia and her broadcast debut with sota, Andal received old Gleason. the RAI Orchestra performing the Brahms a diploma in piano Her many honors included the 1979 Interna- First Piano Concerto under Carlo Maria Gi- from the Sherwood tional Performer of the Year Award, Eastman’s ulini’s direction. School of Music, Chicago, where he studied Alumni Achievement Award, the University of After several tours of Europe, she made in 1937¬38. Rochester’s Citation to Alumni, and five honor- her highly praised New York debut recital at He attended Eastman, where he studied ary degrees. In October 2000, Catherine Cro- Town Hall in 1954. with Leo Poldolsky and Sandor Vas, from zier received an honorary Eastman doctorate, Faini held faculty positions at the Hartford 1939¬42 and 1945¬49, interrupted by mili- and gave the first master class on the newly Conservatory, West Hartford Music School, tary service in World War II. He received a renovated organ in Schmitt Hall. and came to Eastman in 1966, where she was bachelor of music degree in 1947 and a mas- In 1993 Crozier moved to Portland, Ore- professor of piano until 1983. She was ter of music degree in 1949. Andal joined the gon, where she was Artist-in-Residence at awarded the School’s Eisenhart Award for faculty of Eastman’s Preparatory Department Trinity Cathedral until early 2003, frequently Teaching Excellence in 1979. (now the Community Education Division) in playing organ voluntaries at services, giving 1949, remaining until his retirement, as se- solo recitals, and continuing to teach. nior instructor in piano, in 1986. William McIver To commemorate Andal’s lifelong commit- William McIver, ment to teaching others, contributions to a Maria Luisa Faini professor of voice, scholarship fund may be sent to the Eastman Former professor died September 15. School of Music in his name. of piano Maria Luisa Professor McIver Faini died in Rome, received his earliest Italy, on October 30. musical training at Catharine Crozier An exceptional the Columbus Boy- Catharine Cro- pianist and chamber choir School (now zier, renowned con- music perform er, the American Boy- cert organist, died Faini was one of the choir) in Princeton, New Jersey. While a stu- September 19, in outstanding fi gures dent there, he was chosen by Gian Carlo Portland, Oregon. in the galaxy of musicians who came to ma- Menotti to sing the title role in Menotti’s Crozier studied turity in Italy in the post-war era. She was Christmas opera Amahl and the Night Visitors, organ at Eastman hailed throughout the world for her brilliant which he performed annually on NBC Tele- with Harold Gleason, technical gifts and profoundly creative mu- vision from 1952 through 1955. earning her bache- sicianship, and revered by her students as an He received the AB and BM degrees from lor’s degree in 1936 and master’s degree in exceptional teacher. Oberlin College and Conservatory, the MM 1941, as well as the Performer’s Certifi cate Born in Rome, Faini was a pupil of Carlo degree from the University of Illinois, and and Artist’s Diploma. She joined the Eastman Angelelli at the Academy of Saint Cecilia. the DMA from West Virginia University. His faculty in 1939, and became chair of the Upon graduation she was selected to be one teachers included Harold Bryson, Richard organ department in 1953. of the few master students of the distin- Miller, Grace Wilson, and Jon Crain, and he In an era when women organists were not guished composer-pianist Alfredo Casella, coached with Paul Ulanowsky, James Benner, often invited to perform, Crozier opened the under whose guidance she received the Art- Igor Stravinsky and Lukas Foss. fi eld by playing as skillfully and eloquently as ist Diploma in piano and chamber music. At Professor McIver was an exceptional and any of her male peers. She concertized across the summer institute Academia Chigiana in beloved teacher who joined the Eastman fac- the United States, Canada, and Europe. In Siena, she became Casella’s assistant in ulty in 1999. His students have sung at the 1962, she played at the inaugural organ recital teaching and in his pioneering effort to Metropolitan Opera, New York City Opera, in Lincoln Center’s Avery Fisher Hall, and Chicago Opera, opera houses in Europe, and was engaged for a solo recital there in 1964. MARIA LUISA FAINI: A friend remembers, 24 CONTINUED ON PAGE 40

December 2003 | Eastman Notes 39 IN TRIBUTE

CONTINUED FROM PAGE 39 In memoriam in apprentice programs in the United States and Canada. 1920s Lodema (Legg) Poaster Before coming to Eastman, he was on the (1940s), August 2002 faculties of Lycoming College and the Uni- Doris (LaDue) Dodge Jean (Ellis) Reed versity of North Carolina at Greensboro, (BM ’25), December 2002 (BM ’42, MM ’50), March 2003 where he won the outstanding Teaching Helen (Wilson) Ferris Frances (Newman) Thiel Award in 1996. (BM ’25), September 2003 (BM ’41, MM ’42), June 2003 William McIver served the National Asso- M. Elizabeth (Townley) Whippie ciation of Teachers of Singing, the largest 1930s (BM ’46), May 2003 professional association of teachers of sing- Myra (Winchester) Wicklein ing in the world, as North Carolina Presi- Viola A. Brody (MM ’48), October 2002 dent, National Secretary, Vice President of (MM ’39), August 2003 Discretionary Funds, and National President. Catharine (Crozier) Gleason 1950s He was also a member of the Music Teachers (BM ’36, MM ’41), September 2003 National Association, where he was a found- Dorothy (Borschel) Jennings Ralph E. Bigelow ing member of the Pedagogy Committee and (BM ’38, MM ’42), June 2003 (BM ’51, MM ’53, ESM registrar served on the Editorial Committee. He pub- Kent W. Kennan 1953–1960), July 2003 lished articles in the Journal of Singing and (BM ’34, MM ’36), November 2003 Leonard Feldman the American Music Teachers Journal, and Laura Kempers (BM ’59, MM ’60), August 2003 gave master classes and served on panels at (MM ’39), 2003 Gloria (Eshelman) Hodges NATS and MTNA national conventions. Margaret Ann (Grove) Marsh (BM ’52), November 2003 (BM ’39), June 2003 Fred J. Marzan A. Donald Menz (BM ’52), June 2003 Harold Weiss (BM ’37), December 2002 Christian A. Rosner Pianist, organist, Alma M. (Lissow) Oncley (PhD ’57), October 2003 and Eastman profes- (BM ’30 & ’32, MM ’33), June 2003 Martha L. (Zepp) Salzman sor Harold Weiss Stanley Paul Rudnicki (BM ’56), January 2003 died on October 27. (BM ’32), June 2002 Lois (Legge) Tustin Weiss was born in Louis Saverino (BM ’51), July 2003 Bethlehem, Pennsyl- (1938), June 2003 Glenn R. Williams vania, and educated Fern (Matteson) Tremer (MM ’54, DMA ’62), December 2002 at the Juilliard School (BM ’31), October 2003 of Music, where he 1960s received a diploma in 1931, a bachelor’s degree 1940s in 1946, and a master’s degree in 1947. He Kirsten B. Huehn studied under Roslyn Tureck. Dennis K. Andal (BM ’62), July 2003 He taught at Juilliard in 1946¬1947; he (BM ’47, MM ’49), May 2003 Margaret Esther (Thompson) Shaffer then joined the Eastman faculty, where he Gordon Binkerd (BM ’60), December 2002 taught Preparatory Department and colle- (MM ’41), September 2003 James Wagner giate students until his retirement in 1974. Betty Burnett (1969), August 2003 Besides maintaining a studio of piano stu- (BM ’44), July 2002 dents, Weiss for several years taught an Edith C. DeLuca 1980s Eastman undergraduate course in “Litera- (BM ’48), August 2002 ture for Two Pianos,” and served as coordina- Edamay (McCulley) Exner, Ruthanne (Epstein) Wiley tor of the Piano Teachers’ Workshop. (BM ’45), October 2003 (BM ’80), February 2001 He was active in professional teaching as- Wallace H. Mann, sociations and as a clinician, also serving as (BM ’43), March 2003 1990s an adjudicator for numerous festivals. He Dorothy Ornest was one of the editors of Contemporary Col- (BM ’42), July 2003 Dennis Barry Taylor lection for Piano Students, Books I & II (MM ’94), January 2002 (Summy-Birchard).

40 Eastman Notes | December 2003 ALUMNI NOTES

named Bernard Rubenstein (BM 1930s ’58) its fi fth music director in 71 Send your news! seasons. He formerly held posts as John Weinzweig’s (MM ’38) 90th music director of the Tulsa Philhar- birthday was celebrated with a Do you have an announcement you’d like to share with your monic, associate conductor of the concert of his chamber music by fellow alumni? Send your personal and professional news to Cincinnati Symphony, and director the University of Toronto (March Notes, Offi ce of Communications, Eastman School of Music, of orchestras at Northwestern Uni- 19), the premiere of Prologue to a 26 Gibbs Street, Rochester, New York 14604. versity School of Music. Tango by New Music Concerts of Toronto (March 23), and radio an Fax: 585-274-1089 Lawrence R. Smith (PhD ’58) d TV broadcasts of his recordings. E-mail: [email protected] has been elected President of the Weinzweig is a founding member of Deadline for the June issue of Notes is April 30, 2004. National Braille Association for the Canadian Music Centre and is 2003¬04. The 2000-member, non- widely regarded in Canada as “Dean News of your upcoming events such as concerts and lectures profi t organization provides continu- of Canadian Music.” can be posted live on the Eastman alumni website: ing education to those who produce Braille, and provides Braille materials www.rochester.edu/Eastman/alumni Gardner Read (BM ’36, MAS ’37) for persons who are visually impaired. recently published his ninth book, He is professor emeritus at Kalama- Orchestral Combinations: The Science the 2003 YWCA Women of Excel- The world premiere of Nancy Van zoo College (MI). Bettye Krolick and Art of Instrumental Tone-Color lence Award in Music. She was com- De Vate’s (BM ’52) opera, Im Westen (BM ’48) served as NBA President (Scarecrow Press). The publisher missioned by the Lubbock Youth nichts Neues (All Quiet on the West- in 1987¬88, making two of 24 NBA describes Read’s book as “a thesaurus Symphony Orchestra to compose ern Front), based on Erich Maria presidents who have been Eastman of orchestral combinations, a lexicon A Symphony Of Celebration for their Remarque’s novel, was given in alumni. They recently collaborated of the science and art of fusing timbre 15th anniversary, and her chamber Osnabrück, Germany, in Septem- on a new edition of Introduction to and sonority in symphonic scoring.” work Passages III for clarinet, ’cello, ber. The north German city was Braille Music Transcription, a publica- and piano was premiered by the Trio Remarque’s birthplace. In May, the tion of the National Library Service Frederick Fennell (BA ’37, MS ’39) Montecino at the School of Music of New York City Opera presented for the Blind and Physically Handi- was interviewed by Thomas Dvorak the University of Illinois-Urbana. the English version of the opera in capped of the Library of Congress. in the September 2003 issue of The its VOX 2003: Showcasing American Instrumentalist. The still-active con- Robert Thayer (BM ’49) has been Opera series. Van De Vate’s Lament for The September opening of the Seat- ductor spoke about the founding of appointed interim head of the Bali is being featured in an interna- tle Symphony’s 2003¬04 season the Eastman Wind Ensemble in 1952, Department of Music at the Uni- tional series of concerts in 2003¬04 included two premieres of works by its recordings, and offered some versity of Connecticut in Storrs for in memory of the victims of the Samuel Jones (MA ’58, PhD ’60): thoughts on contemporary music for the 2003-04 academic year. Thayer Bali bombings in October 2002. In Centennial Hymn and Chorale-Over- wind ensemble. A recent $1 million is dean emeritus of the College of October 2003, Vienna Masterworks ture for Organ and Orchestra. The gift to the Orange County (CA) High Musical Arts at Bowling Green State announced that the 2003 Nancy Van Seattle Times described the latter School of the Arts wind ensemble University. During 2001-02, he was De Vate International Composition work as “tuneful and tonal … the program by John and Sandy Daniels interim dean of the School of Music Prize for Opera had been awarded music rises to a triumphant wall of was given in honor of Fennell. He at DePauw (IN) University. to Carol Barnett of Minneapolis MN sound at the fi nale.” will lead a series of workshops in the for her opera Snow. (Barnett was a program, now known as the Freder- At an April 6, 2003 concert of student of Domenick Argento [PhD Doris Gazda (BM ’55) was awarded ick Fennell Winds Studies Program. the Loyola Symphony Orchestra, ’58] at the University of Minnesota). a 2003 Alumni Achievement Award Marvin Rabin (MAS ’48), professor from the School of Arts and Archi- emeritus of music and director of John White (BM ’54, PhD ’60) tecture at Penn State University. 1940s the Wisconsin String and Orchestral received top honors in the “Wag- She has served as president of the Development Program, was awarded ing Peace through Singing” program National School Orchestra Associa- Robert M. Stevenson (DMA ’42) Loyola University’s Presidential at the University of Oregon in 2002 tion and secretary of the American performed in recital at the January Medal “in recognition of 18 years for his chorus and orchestra work, String Teachers Association, and tribute to a fellow faculty member at of guidance and support for string Abraham Lincoln Walks at Midnight. recently published String Town Tunes, UCLA. A composer, instructor, army education in the College of Music White’s newest work for chorus and a collection of concert pieces for chaplain, lecturer, and visiting pro- and a lifetime of leadership and orchestra, Pindar Hymns, is one of 10 beginning string orchestra. She adds, fessor to numerous universities, Ste- dedication to music education works by composers of various nation- “Next year I will be making several venson has published 28 books and throughout the world.” alities selected for performance at major presentations, so life goes on more than 3,000 articles. Among the 2004 Olympics in Athens, Greece. even for a retiree!” She has a website numerous honors is honorary mem- The work is based upon poems of Pin- at www.gazdastrings.com. bership in the American Musico- 1950s dar, the ancient Greek lyric poet. logical Society and the fi rst Lifetime The music of Sydney Hodkinson Achievement Award by the Society An American Mass by Chesley Kah- The Cleveland Orchestra’s Princi- (BM ’57, MM ’58) has been widely for American Music. He is professor mann (BA ’52) was recorded on CD pal Tubist Ron Bishop (BM ’56) performed throughout the United emeritus in musicology at UCLA. and video during a performance at presented a master class in orches- States and Canada in the past season. Central Presbyterian Church in Sum- tral performance at the Manhattan Premieres have included Short Cuts: Mary Jeanne van Appledorn (BM mit, NJ. The 45-minute work is scored School of Music in February 2002. Dances & Vespers (2000) at Del Mar ’48, MM ’50, PhD ’66), Paul Whit- for chorus, vocal quartet, piano, organ, College, Corpus Christi, TX; Drawings, fi eld Horn Professor of Music at three trumpets, and timpani, with Effective in the 2003¬04 season, Set No. 13 (2002) at Rice University, Texas Tech University, was awarded English text by the composer. the Fargo-Moorhead Symphony has CONTINUED ON PAGE 42

December 2003 | Eastman Notes 41 ALUMNI NOTES

CONTINUED FROM PAGE 41 also compiled Russell Saunders Still We are invited back next spring. In Gelais (BM ’76) “are enjoying the Houston TX; Monumentum pro Umbris Teaches, available at Eastman. the band at Carnegie with me was Florida sunshine and teaching at (2002) and Tela Lacerata (2001) at also banjo virtuoso Drew Frech (BM McInnis Elementary School in Stetson University, Deland FL. Principal bassoon with the San Fran- ’65). We just completed a series of DeLeon Springs, FL. [I am] teaching cisco Symphony Stephen Paulson performances for Cornell Universi- the piano lab part time (semi-retired) Bass Player magazine’s September (BM ’68) also is music director of ty’s June Reunion and topped that off and Roland is teaching general music 2003 cover story was “Ron Carter: A Symphony Parnassus since 1998, an with a concert last night at Ithaca’s and after-school band. He is also the Candid Conversation & Private Les- instructor at the San Francisco Con- historic State Theatre.” director of Roverbend Community son with a Living Legend.” The out- servatory of Music since 1978, and Church Conservatory of Music in standing jazz bassist (BM ’59) was owner of Sonoma Reed Company Joan Templar Smith (PhD ’76) Ormond Beach.” extensively interviewed; besides a since 1995. writes that her husband Jerry Neil page-long “lesson” with Carter, the Smith (PhD ’63), University of Okla- Dorothy Hall Lewis (MM ’69) and article also included a career summary, The University of Dayton String Quar- homa Professor Emeritus and former her husband Cary Lewis (DMA ’72) recommended Carter recordings, and tet and Steven Wasson (BM ’69, MM principal clarinetist of the Oklahoma continue to perform in the Lanier “Ron Carter’s 5 Tips for Players.” ’71) gave the world premiere of Was- City Philharmonic, was the commis- Trio with violinist William Preu- son’s Commemorative Dedications, Op. sioned composer for the International cil, concertmaster of the Cleveland Proof Through the Night: Music and 40 (2002¬03) for Piano Quintet on Midwest Band and Orchestra Clinic Orchestra and for ESM faculty mem- the Great War by Glenn Watkins May 4, 2003, for the fi nal concert of in 2002. His composition South of the ber. Their recent Gasparo recording (PhD ’53) has been widely and enthu- the Dayton Chamber Music Society’s Border was premiered December 17 in of two Brahms Trios was glowingly siastically reviewed; the Los Angeles 2002¬2003 season. The work was Chicago by the combined orchestras reviewed in the July-August American Times called it “a scholarly triumph, commissioned by and dedicated to of Norman (OK) North and Wichita Record Guide. Cary recently retired an important history, and a mov- the organization for its 50th anniver- (KS) East High Schools. from Georgia State University, and the ing narrative [that] sends ripples sary as well as to commemorate the Lewises moved to Lake Oswego, OR. through the mind.” In May 2003, the 200th anniversary of the State of Ohio, Lynn Herbert Whiddon (BM ’67) 50th anniversary of completing his the 100th anniversary of manned retired in May 2003, after 33 years as Soprano Jacklyn Schneider (BM doctorate, Watkins endowed a Glenn fl ight, and in tribute to Wasson’s Associate Concertmaster of the Colum- ’63) presented a Richard Strauss Nach- E. Watkins Lecture at Eastman, and father. Wasson is also profi led in the bus (GA) Symphony. She retired also mittag benefi ting the New York City pledged an annual travel grant to a 2004 edition of Who’s Who in America. as a teacher of violin at Columbus Chapter of the Alzheimer’s Associa- doctoral student in musicology for State University. Her husband Rex tion in March 2003. Schneider, who the next fi ve years. In October, Wat- Robert Jordahl (PhD ’66), who Whiddon (BM ’66, MM ’68), is direc- is a member of the voice faculty at kins attended the inauguration of a retired from McNeese State Univer- tor of major gifts for the Columbus the American Musical and Dramatic Carlo Gesualdo research center in sity, Lake Charles, LA in 1999, writes State University Foundation. Academy, is also co-founder and vice- Venosa, Italy, and then lectured at to Notes that he is “still active despite president of Arts for Alzheimer’s, a Harvard University; on November 2 multiple bypass surgery in March.” Stephen Geber (BM ’65) stepped foundation to develop and produce he lectured for the Chamber Music down from his 30-year tenure as performing arts projects that pro- Society of Lincoln Center. Flutist Louise Dinkey Pinkow (MM principal cello of the Cleveland mote awareness of this disease. ’66) is currently Executive Director Orchestra at the end of this sum- Ned Corman (BM ’59) and The Com- of the American Chamber Players; mer’s Blossom Festival season. Since retiring from college teach- mission Project were honored with Artistic Director, Estes Park (CO) ing, Hal Kacanek (BM ’64) has been a Special Citation from the Arts and Chamber Music Society; and has a Marie-Therese Robillard (BM doing special assemblies, keynotes, Cultural Council of Greater Roch- private fl ute studio in Boulder, CO. ’62) retired October 31 as the direc- artist in residence and in-service ester for championing the Greater tor of the Clarence Public Library. workshops featuring performance on Rochester International Jazz Festival. Ralph Childs (BM ’68), who was She worked in the Buffalo and Erie world and homemade instruments. The award was given October 2 at the awarded the Performer’s Certifi cate County Public Library System for over His programs and products focus on Council’s annual luncheon. in Tuba, is now a psychotherapist in 40 years, 19 of those in the Music diversity, creativity, personal expres- the Mental Health Clinic of Vander- Department of the Central Library. sion, and the art and science of bilt University (TN). He’s still into sound. See www.soundswemake.com. 1960s music though, and writes “I also Mary (Mitzie) Collins (BM ’63) play bass and sing backup for Don writes: I am a member of the Com- Dianne Chilgren (BM ’62), com- Cellist Tanya Lesinsky Carey (BM ’60, McLean. We perform 40-50 shows a munity Education Division faculty pany pianist and piano soloist for MM ’62) performed the Elliott Carter year, mostly in the U.S., but also in of Eastman, and I’m now offi cially Seattle’s Pacifi c Northwest Ballet Cello Sonata at the Seventh American the U.K., Australia, and Canada. We matriculated as a grad student, work- since 1985, was the subject of a pro- Cello Congress in Tempe, AZ last May. may tour Asia in 2004. If you hear of ing on an MA in Music Education, fi le in the Seattle Times on August 3. She also gave a presentation on “Ages Don coming to your area, please call with a diploma in World Music. I Chilgren spoke of her seven years’ and Stages,” which included her 3-year- or e-mail me [615-665-4475, play the hammered dulcimer, moun- experience as a rehearsal pianist for old grandson, Logan. ralphchilds@bellsouth.net] so I can tain dulcimer, and banjo, and every George Balanchine, and of her satis- ’comp’ you into the show. I’d love to year produce the largest Irish con- factions as a piano teacher. Author of over 40 spiritual books see you, or meet you again.” cert in Rochester. I’ve made about 30 Mary Ann Lackovich (BM ’68, MM recordings, and I’m still busy giving June Ackroyd (BM ’62, MM ’64) ’72) received an honorary doctorate John Russo (BM ’66) writes: “Good programs and concerts, as well as recently gave a faculty recital at in literature from the World Acad- news! My quintet played at two half- accompanying four talented grand- Northern Michigan University featur- emy of Arts and Culture-UNCESCO hour performance in Carnegie Hall kids who live in Rochester.” ing music for voice and instruments. at the 22nd World Congress for Poets last April 21. We were brought to She is completing her 25th year as a in Iasi, Romania (October 2002) the Isaac Stern Auditorium by music Shirley Cole-Cartman (BM ’61) member of the NMU music faculty. for her book The Poetry of God. She impresario/conductor Peter Tiboris. writes that she and Roland St. CONTINUED ON PAGE 44

42 Eastman Notes | December 2003 ALUMNI NOTES

Eastman alumni on CD

Pianist Elizabeth Thomas Stacy (BM ’60), Plaintive Melody hymns, songs by Bachelder (BM ’69, (Delos 3318), accompanied by another Thad Jones, Curtis MM ’71, DMA ’81) Eastman alum, harpsichordist Kenneth Mayfi eld, and James and cellist Alan Hamrick (DMA ’92). Stacy is “a poet among Taylor, and original Weinstein (MM ’86) craftsmen,” according to Leonard Bernstein, takes on music by are two-thirds of and an imaginative programmer: the plaintive Brahms and Barber. the Kandinsky Trio. melodies here include pieces by Borodin, A portion of sales (The third is violinist Benedict Goodfriend.) Villa-Lobos, Bach, Barber, Granados, and Ravel, from Spirit will support CM2: Children’s This year, the Trio celebrates its 15th anniver- as well as The Winter’s Past by longtime ESM Museum 2nd Generation. sary and its fi rst CD release: Trios in Foreign composition faculty member Wayne Barlow. Pianist Tom Linker (MM ’87) has released Lands (Brioso 135), a fascinating assortment of Chris Theofanidis’ Time Was, a solo collection of misty, nos- pieces for piano trio by Rachmaninoff, Turina, (MM ’92) orches- talgic classical pieces, improvisations, and Cowell, Bridge, and Chien-Tai Chen (whose tral work Rainbow originals including Mozart’s Sonata K. 332, 1993 work gives the CD its title), as well as Body has just been Beethoven’s “Moonlight” Sonata, the Kreisler/ Gitane à Trois, arranged by the trio members released on Telarc Rachmaninoff Liebeslied, and three versions themselves. Befi tting a trio named after a 80596, performed of Auld Lang Syne. For more information visit famous artist, the booklet cover for Trios by Robert Spano and www.tomLINKER.com. in Foreign Lands features a striking original the Atlanta Symphony as part of an American painting of the group. Corey Jane Holt program. The colorful and appealing piece is (BM ’88) has a new David Diamond (NA based on a 12th-century chant of Hildegard CD of contemporary ’37) has been recog- von Bingen. Also on the CD is blue cathedral piano music, Unmis- nized for decades as by Jennifer Higdon, another up-and-coming takably Modern, just one of American’s composer; and two American classics, Barber’s out on Blue Pearl foremost symphonic Symphony No. 1 and Copland’s Appalachian records (for informa- composers. He has Spring. Theofanidis now teaches composition tion write to moscow@mindspring.com). Holt enjoyed a late-in-life at the Peabody Institute. is a mainstay of Tampa, Florida’s Bonk! New revival of interest in his music, in part thanks Soprano Susan Music Festival, as are the ESM composers to conductor Gerard Schwarz, who recorded Gonzalez (MM ’91, represented on her disc: Robert C. Constable many important Diamond works, most of DMA ’94) has an (Recursions 1–6), Paul Reller MA ’86 (Corey them for the fi rst time, in the 1980s and 1990s enterprising new CD Jane’s Polka Madness and Executive Out- with the Seattle Symphony. Naxos is rereleas- of Songs by Women comes), and David W. Rogers BM ’89, PhD ’97 ing these important recordings in its “Ameri- (Leonarda 352), with (Florida Suite). can Classics” series, and if you missed them pianist Marcia Eckert. fi rst time around, you will defi nitely want Walter Moeck (BM ’47) has sent Notes a CD The women composers in question, all cur- to pick them up. The fi rst two CDs include called Special Selections from the Dr. Walter rently alive and well and living in the United Symphony No. 3, Psalm (fi rst performed at F. Moeck Collection, Volume I, which includes States, will surely be new to most listeners: the Eastman School in 1937, conducted by samples of his work as a trumpet soloist, Joyce Hope Suskind (setting Yeats); Ruth Howard Hanson), and Kaddish for Cello and brass ensemble player, and conductor over Schonthal (setting Rilke); Elisenda Fábregas Orchestra (Naxos 8.559155); and Symphony several decades, including a complete 1983 (setting Lorca), and Elizabeth R. Austin No. 1, Violin Concerto No. 2, and The Enor- concert program with Moeck conducting the (A Birthday Bouquet of poems by e.e. mous Room (Naxos 8.559157). Westlake Symphony (Los Angeles). cummings, Christina Rossetti, and Yeats). Cellist David Eby (BM ’89) has just released Pianist and composer Darrell Grant (BM ’84) Relax: Meditations for Flute and Cello, an ➤ If you have your music or performances is also songwriter, arranger, and vocalist on album of soothing music by Donald Walters, on a recent or forthcoming CD, Notes wants his new CD, Spirit (Lair Hill Records LHR 005). with fl utist Sharon Brooks (Crystal Clarity to know! Send promo copies to Eastman Grant calls his latest effort “music from the 2002). An hour of similarly soothing strains Notes, Offi ce of Communications, Eastman heart to the soul ... pure emotion and spirit,” can be found in a most unusual solo record- School of Music, 26 Gibbs Street, Rochester and the mix includes spirituals, folk songs, ing by New York Philharmonic English hornist NY 14604; or just alert us that it is available.

December 2003 | Eastman Notes 43 ALUMNI NOTES

CONTINUED FROM PAGE 42 at the Béla Bartók festival in Hun- gary, one week in Fukui, Japan, and another week in Perugia, Italy teach- 1970s ing a marimba course. Vibraphonist and composer Ted Edward Adelson (BM ’76) has been Piltzecker (BM ’72) worked with appointed associate executive dean musicians from Spain, Columbia, of the Colleges of the Arts and Sci- Argentina, Brazil, and Uruguay last ences at The Ohio State University, June in the “Primer Festival Per- effective July 1, 2003. Adelson, cur- cusión Patagonia” in Argentina. He rently associate dean of the College performed and presented a clinic of the Arts, has been a faculty mem- at the “IX Festival Internacional de ber at Ohio State since 1983. la PercusiÛn” in Puerto Rico, and had his electronic work Lul-a-bye- Juliana Bishop Hitpas Hoch (BM “An extraordinary man” gone premiered at SUNY Purchase ’79) is completing a doctoral disserta- in April. tion entitled The Solo Songs of Robert When he died in September 2002, John B. Armesto (BM E. Kreutz. Hoch is instructor of voice ’49) was one of the Buffalo area’s best-known musicians Composer Michael Isaacson’s (PhD at Colorado State University. and composers. His choral anthems were frequently ’73, PhD ’79) oratorio, A Covenant of sung in area churches, and his 1952 Poème (the fi rst of his Wonders – The Giving and Receiving For Whom The Bell Tolls by composer of the Ten Commandments, was pre- Bradley Nelson (MM ’75, DMA ’76) several symphonic works) was performed just months miered in June at Mt. Zion Temple received its world premiere at the before his death by the Buffalo Philharmonic under in St. Paul, MN by the combined California Music Educators Con- JoAnn Falletta. choirs, narrators, and soloists. It vention in Pasadena on March 15, was performed to a prerecorded 2003. This three-movement choral Now Armesto’s music, widely performed but almost CD. For more information, go to work was jointly commissioned by entirely unpublished during his lifetime, is fi nding a new [email protected]. the chamber choirs of Fresno State audience, thanks to Roland and Chico State of the California Orlan Thomas (DMA ’73) has been State University System soon after Martin, a friend and admirer of hired by Ft. Hays (KS) State Uni- the terrorist attacks in New York Armesto’s at Hal Leonard Music. versity to teach and supervise the City. The music is written for cho- Choral works, piano pieces, and teaching of music literature at Sias rus, fl ute, percussion, and piano. arrangements by Armesto are International University in Xingzhou, Following the premiere, “In Flan- China, in a program that offers an ders Fields” (second movement) now being published regularly. American degree in general studies was selected for performance by from Ft. Hays University without vis- high school honor choirs in cen- “My father’s entire life was rich iting the United States. tral and northern California. The in composing music – the result entire work was subsequently per- of his having studied at Eastman,’ Mark Mordue (BM ’75) has received formed by the Williamsport Civic John B. Armesto says Armesto’s daughter Diane, a tenure at Ball State University after Chorus in Pennsylvania. Streaming completing his seventh year as assis- recordings can be heard and scores jazz pianist and singer who lives in Rochester. “He wanted tant professor of tuba and euphonium. can be viewed at Brad’s website to contribute to the artistic beauty on this planet, espe- www.GladdeMusic.com. cially after having served in the Army during World War II, The Oxygen Network aired the pre- experiencing ‘dead piles’ and having been wounded sev- miere of Sex: Female with a musical Nick B.T. Wilson, Jr. (’72, ’73) score by John Serry (BM ’75, MM writes that he and his wife Ruth eral times himself. His first thought upon regaining con- ’90) on June 21. The documentary are “currently in transition this sciousness on the battlefi eld was to move his fingers, to featured an all-jazz score including fall, 2003, to take the position of know if he’d still be able to play the piano.” (Armesto, who original music and arrangements Seminary Head Librarian of Cape took part in the Philippine Invasion and was wounded in of well-known standards. Serry Theological Seminary, Cape Town, returned in June from a 3-month tour South Africa. We expect to begin the battle of Okinawa, drew on this experience in his 1965 with Saturday Night Fever, and spent our responsibilities there by the end orchestral tone poem The Night and the Fog, a manu- the summer in Barcelona and per- of the year. We recently left serving script page of which is shown here.) forming throughout Europe includ- as Dean and University Librarian ing Prague, Amsterdam, Belgium, for Global University, Springfi eld, While none of Armesto’s fi ve children attended Eastman, the UK, and Italy. Missouri. We continue to sing to our Diane knows the School well; she has performed fre- heart’s content.” quently here with such musicians as Bill Dobbins, Harold In addition to recital appearances in Taipei, Glasgow, and Stuttgart, and Rebecca McCord McNutt Danko, Jeff Campbell, and Rich Thompson. six weeks each year teaching at the (MM ’76, DMA ’83), professor of Royal Academy of Music in Lon- piano at Sweet Briar College (VA), “Because of him, my life too is rich in music,” says Diane. don, percussionist Leigh Howard has two adopted children from “He was a fi ne composer, a wonderful father, and as Stevens (BM ’75) spent two weeks Ukraine: Catherine (2000) and JoAnn Falletta succinctly stated, ‘An extraordinary man!’ ” last season teaching and performing Caroline (2003).

44 Eastman Notes | December 2003 PHOTOGRAPH AND MANUSCRIPT COURTESY DIANE ARMESTO ALUMNI NOTES

A solo vibraphone recital was prerecorded works of Leo Ornstein and Cheyenne Symphony Orchestra. The sented by Geary H. Larrick (MM ’70) Messiaen’s Quartet for the End of Time Divas of Mozart’s Day, Alltop’s fi rst on July 9, 2003, on stage Main Street – but also the author of fi ve novels, CD as a conductor and fortepiano in Stevens Point, WI, where Geary including two “Frost the Fiddler” soloist, was released in 2002 on the moved from Eastman in 1969. The thrillers and The Secret Life of Eva Cedille label. A CD on the Albany presentation, featuring Larrick’s own Hathaway. Janice currently teaches label featuring soprano Julianne compositions, celebrated fi fty years of at the Boston Conservatory and is at Baird (BM ’73, MM ’76) with Darin playing the vibe. In 2003 he also com- work on her sixth novel. Kelly, trumpet and Stephen Alltop, posed Sonata for Oboe and Poem II for organ, was released in 2002. drum. The 2002 Music Index contains listings of two of his articles from 1980s Sandra Dudley (MM ’85) is featured NACWPI Journal. Geary’s sixth book, vocalist with The Jazz Orchestra Bibliographic Analysis of Percussion The Saint Louis Symphony Orches- of the Delta big band of Memphis, Literature, was published in October tra has announced the appointment which has just released a debut 2003 by The Edwin Mellen Press. of Diana Haskell (BM ’81) as assis- album, Big Band Refl ections of Cole tant principal clarinet, effective in Porter, on Summit Records. Her solo Organist Jo Deen Blaine Davis (BM September. Haskell was formerly CD, Close To You, was scheduled for ’72, MM ’74) recently returned from a assistant principal clarinet at the release in August. 3½-month concert tour in Great Brit- Milwaukee Symphony Orchestra. ain, Germany, France, and Italy. Her The Atlanta Symphony Orchestra has recitals included St. Giles, Edinburgh; Composer-in-residence and professor named Elizabeth Burkhardt (BM Christ Church, Oxford; Truro Cathe- of Music at Wake Forest University ’86) as associate principal bassoon, dral, Truro; St. Paul’s Cathedral, Lon- Susan Marie Pierson Dan Locklair (DMA ’81) has had a and Ted Gurch (BM ’86) associate don; St. Mary’s Kirke, Celle, Germany; number of recent performances, pre- principal clarinet. L’Église Ste. Salvy, Albi, France; and Susan Marie Pierson (BM ’74) spent mieres, and recordings of his works. Ciesa de St. Michael, Corsicano, Italy. much of 2003 giving well-received Highlights include the California Timothy Maloney (PhD ’86) is new Also, she recently resigned as profes- impersonations of some formidable premiere of Lairs of Soundings, a Trip- head of the music library and adjunct sor of music at San Jacinto College operatic ladies: Strauss’ Salome (Ari- tych for Soprano and String Orches- professor of music at the Univer- South, Houston, to become assistant zona Opera) and Elektra (Pittsburgh tra based on the poetry of Ursula sity of Minnesota. He was formerly choir director and organist at St. Mar- Opera), and Marvin David Levy’s K. LeGuin; and the world premiere director of the music division of the tin’s Episcopal Church, Houston. Christine Mannon (Mourning Becomes recording of Three Nativity Songs National Library of Canada for over Electra, Seattle Opera). Opera News (1974) by soprano Janeanne Houston 14 years. Leslie B. Dunner (BA ’78) has been praised both Strauss performances with members of the Seattle Sym- named music director and resident and Pierson’s “powerful, well-focused phony on a CD entitled Living Mys- Former Dean of the College of Arts conductor of the Joffrey Ballet of and accurate voice” and “riveting teries (Elmgrove Productions). and Letters at Southwest Missouri Chicago. Dunner will lead the Chi- stage presence.” Highlights for 2004 State University, David Belcher cago Sinfonietta, which has now include recording Tristan und Isolde In May, Scott Swope (MM ’81, DMA (DMA ’89) was named provost and been declared the ballet company’s for Titanic records; Elektra and a Ring ’84) was elected to a second 3-year vice chancellor for academic affairs offi cial orchestra. He fi rst led the Cycle in Chemnitz, Germany; Fidelio term as treasurer of the German at the University of Arkansas at Little Joffrey Ballet last February in its (Virginia Opera); and further Rings Voice Teachers Association and Ger- Rock in July 2003. “Diaghilev Dynasty” program. with the Finnish National Opera. man representative to EVTA. Swope is a voice teacher at the Universität Principal bass of the Wichita Sym- David Stabler’s (MM ’79) three-part Clarinetist Gary Dranch (BM ’75) Osnabrück, Germany. phony Mark Foley (MM ’89) has series for The Oregonian (where he performed the Hindemith Concerto been promoted to associate professor is music critic) was nominated for a last April with the Buenos Aires Phil- William Eddins (BM ’83, MM ’86) of double bass at Wichita State Uni- 2003 Pulitzer Prize. The story of Sam harmonic Orchestra and conduc- announces that his company, Ahke- versity School of Music, Wichita, KS. Johnson, a cello prodigy who went tor Arkady Leytush. In August 2002, naton Productions Inc., released its from a small town in Eastern Oregon Dranch was a clinician and soloists at fi rst album in June. Bad Boys, Vol- Richard Zielinski (MM ’85), Direc- to concertizing around the country, the Fifth International Music Festi- ume 1 is a solo piano CD featuring tor of choral activities at the Uni- can be read at www.oregonlive.com/ val, serving as a jurist, giving master Eddins. For more information, go to versity of South Florida and music special/lostinthemusic. classes, and performing concertos www.williameddins.com. and artistic director of The Master by Daniel Wolff and Craig Mor- Chorale of Tampa Bay, was recently Jo Anne Dawson (MM ’74) writes ris. (His recording of the Wolff con- Tanya Gille (DMA ’84) has been appointed artistic director and chief that she “took early retirement after certo, which he commissioned, was appointed director of the School of conductor for In Terra Pax (an inter- teaching voice and diction for 24 nominated for a Grammy in 2001.) Music at the University of Alabama national choral academy), the Inter- years at the University of Montevallo, Also last year, Dranch performed in Tuscaloosa, effective in the fall. national Festival of Choral Song, Alabama, due to health reasons. As the Johann Stamitz Concerto with For the previous 14 years, she was a both in Miedzyzdroje, Poland, and a result, she and a lifelong friend are the Greenwich Village Orchestra in member of the piano faculty at the Chor Akademicki Politechniki starting their own bakery in Ohio Manhattan. University of Colorado at Boulder, Szczecinskiej (Szczecin Technical after 20 years of dreaming the dream.” where she also recently served as University Choir), one of Poland’s A September 4, 2003, Wall Street associate dean of music. top choral ensembles. Kristine Bregenzer Lyon (BM ’79) Journal article revealed the “double recently completed her PhD at Kan- life” of Janice Weber (BM ’74). She The 2002¬2003 season marked Ste- Eric Neumann (BM ’81) writes that sas State University in education is not only a brilliant pianist with an phen Alltop’s (BM ’85, MM ’86) he and his wife Ellen have three chil- with an emphasis in vocal pedagogy. adventurous repertory – she recently third year as music director of the CONTINUED ON PAGE 46

December 2003 | Eastman Notes 45 ALUMNI NOTES

CONTINUED FROM PAGE 45 Teaching of Singing, by Elizabeth taur), was reviewed in the July/ The programs drew on world music dren, (Eric, Matthew, and Emily), Blades-Zeller (MM ’84, DMA ’93), September 2003 issue of GuitArt traditions and invited audience par- and adds: “I would enjoy hearing was recently issued in paperback International. He performed a Mid- ticipation, and included the pre- from any classmates. I have fond by Scarecrow Press. Blades-Zeller west tour in October¬November. miere of Charles Griffi n’s Time’s memories of Eastman.” Eric’s e-mail interviewed 20 noted voice teach- His October 15 concert on the Arrow, Time’s Cycle, which allowed address is [email protected]. ers (including Eastman’s Marcia Dame Myra Hess Memorial Con- audience members to “play along” on Baldwin) about their profession. cert Series was broadcast live on water-fi lled mason jars. In August, Jerry Evans (BM ’81) was recently Choice magazine called the book “An www.networkchicago.com. Ingrid teamed with pianist Marianela named a fi nalist for the 2003 Trial excellent starting place for the study Santurio and fellow percussionists Lawyer of the Year Award by the of comparative vocal pedagogies.” Jason Charneski (BM ’96), director Andrea Pryot de Manrique and Eliza- Trial Lawyers for Public Justice, Blades-Zeller has also written Singing of music and the arts at Center beth Sayre for a concert of Latin- a national public interest law with Your Whole Self: The Feldenkrais Church in Hartford, CT, was American works for percussion at organization, for his work in Price Method and Voice (Scarecrow Press, interviewed by the Hartford Courant St. Mark’s Church, Jackson Heights. v. Philip Morris, a landmark Illinois 2002), with Samuel H. Nelson. before his December 2002 organ In September, Marimba Nuevo York, case which resulted in a $10.1 billion performance of Daniel Pinkham’s which includes Ingrid, Andrea Pryor, verdict against Philip Morris for Trumpeter Jeff Stockham (MM ’82) Christmas Cantata. He presented a and Trey Files, provided live accom- the fraudulent marketing of “light” is a member of the Thelonious Monk 90th birthday tribute to Benjamin paniment for the Mexican Folkloric cigarettes. Jr, Big Band; but as a member of the Britten in May 2003 with the Ballet Company of New York at Excelsior Cornet Band, he is also an choir of Hartford’s Christ Church Queens Theatre in the Park, Flushing Pianist Nancy Markham Smith enthusiastic Civil War re-enactor and Cathedral. Meadows. (BM ’81) is Executive Director of the collector of vintage instruments. The Arts Education in Maryland Schools band performed an old-fashioned David Gibson (MM ’96) took sec- Jin Kim (MM ’95) won the 2003 Alliance. She writes from Ellicott Fourth of July concert at the Mor- ond prize in the 2003 Thelonious Robert Shaw Conducting Fellow- City, MD: “I recently returned gan-Manning House (Brockport NY) Monk International Jazz Trombone ship. He is now in his sixth season as to performance, as pianist of the in 2003, and Stockham was among Competition, which included a music director of the Hingham Sym- Columbia Orchestra. In addition to other re-enactors interviewed in the $10,000 cash prize. The competition phony Orchestra in Boston. Kim will frequent orchestral responsibilities. I Rochester Democrat and Chronicle. is sponsored by General Motors and use his Shaw Fellowship for private have many opportunities to perform was held in Washington, D.C. conducting, score, and composition chamber music in our community.” In addition to performing with the study with a variety of artists. Portland (OR) Opera, cellist David In addition to performing with the Barbara (Berman) Wray (x ’82) is a Eby (BM ’89) made his second tour Brevard Music Festival, Lyric Opera Soprano Jennifer Aylmer (BM ’94) special education teacher and severe of Turkey in November 2003 with of New York, Hudson Opera The- and tenor John McVeigh (BM ’93) special needs specialist in Newfi elds, Pink Martini, a band that blends ater, Eastman Opera Theater, Amato appeared as Pamina and Tamino in NH. She writes that she and her hus- “esoteric infl uences from Cuban rum- Opera, Genesis Repertory Opera, Mozart’s Magic Flute at the New York band Jerry “are the proud parents of bas to classical chamber music to and New Jersey Association of Ver- City Opera this fall. McVeigh also 18-year-old twin daughters Elizabeth Parisian café tunes to foreign fi lm ismo Opera, soprano Elizabeth sang Don Ottavio in Don Giovanni Rebecca (who plays piano, all per- soundtracks,” according to The Turk- Anne Beers (BM ’97) performed the last summer at Cooperstown’s cussion instruments, sings, and is ish Daily News. The group will soon role of Magda de Civry last June in Glimmerglass Opera. Aylmer was also a composer), a freshman at MIT, release its second album. Puccini’s La Rondine with the Opera profi led in the July 2003 issue of and Jessica Shannon (who plays fl ute, Company of Brooklyn. Opera News. piccolo, fi fe, penny whistle, alto and tenor sax, sings, and is also an 1990s Shizuo Kuwahara (BM ’98), Amy Glick (MM ’96) reports: “My arranger), a freshman at Brandeis assistant conductor of the Virginia husband, Patrick Helmuth, and I had University.” Saxophonist David Demsey (DMA Symphony, has been named to an a baby boy on March 12, 2003. His ’90) was recently featured with the additional post as music director name is Karl Joseph Helmuth. I’m Renée Fleming’s (MA ’83) October Kirov Orchestra of St. Petersburg, of the College of William & Mary currently a violinist with the Akron 13 opening-night performance for Russia, conducted by Valery Gergiev Symphony Orchestra, beginning in Symphony.” the Metropolitan Opera as Violetta on their East Coast U.S.-Canadian September. in La Traviata was eagerly awaited tour, performing the Mussorgsky/ Janka Pernisz (BM ’99) has been and rapturously received by the Ravel Pictures at an Exhibition. Tour Oboists Mary Longobardo Leister named public relations and group music press. She made her successful stops included Toronto, State Col- (BM ’99) and Anne Austin (BM ’00) sales coordinator of the Rochester debut in this role in April with the lege (PA), Long Island, NY, NJPAC in are celebrating the one-year anni- Philharmonic Orchestra. Houston Grand Opera. In July, Flem- Newark, NJ, Philadelphia, and Wash- versary of their online venture, MKL ing returned to a role she created, ington, D.C. Reeds (www.mklreeds.com), an Kathleen (Missall) Van Bergen Blanche DuBois in André Previn’s international retailer of handmade (BM ’98), director of artistic admin- A Streetcar Named Desire, perform- The Chicago Symphony Orchestra oboe reeds. They perform regularly istration for the St. Louis Symphony, ing at London’s Barbican Hall (with appointed Wendy Koons (BM ’93) with their chamber ensemble Camer- was profi led in a recent article in tenor Anthony Dean Griffey [MM to their second violin section. Koons ata Fucsia, which also includes Jason the St. Louis Business Journal. Still ’01] as Mitch); in September, she was a member of the Kansas City Leister (BM ’99). an active violinist, she previously took part in a preview concert at Symphony since 1995, and most worked in the artistic and education Carnegie Hall’s new underground recently held a one-year position with Percussionist Ingrid Gordon (BM department of the Chicago Sym- venue, Zankel Hall. Saint Louis Symphony Orchestra. ’92) led her contemporary chamber phony Orchestra. In St. Louis, she ensemble Time’s Arrow in “participa- is involved in hiring conductors and A Spectrum of Voices: Prominent Peter Fletcher’s (MM ’95) new tory concerts with a global reach” in guest artists, and programming 150 American Voice Teachers Discuss the CD, Mompou: Guitar Works (Cen- October and two churches in Queens. concerts per year.

46 Eastman Notes | December 2003 ALUMNI NOTES

Tasmanian-based composer Maria On October 12, oboist Keve Wilson Grenfell (MA ’94) was one of (BM ’91) married trombonist Kerry 15 leading Australian composers Farrell, UCLA grad and Current Out- commissioned by the West reach Director of the Henry Mancini Australian Symphony Orchestra Institute. The couple resides in Los to write a short piece for their Angeles, CA. anniversary series in 2003. She has been commissioned by the Sydney Helen Pridmore (DMA ’96)’s new Symphony Orchestra to write an music group, Motion Ensemble, orchestral work in 2004 for the made its United States debut on education programs of all Symphony October 8 at TONIC in New York Australia orchestras, after last year’s City performing works of John Cage success of her educational show, I’ve and James Tenney. The group’s Mode Got Wind, for the wind section of the Records CD of works by John Cage Tasmanian Symphony Orchestra and was offi cially released at this concert. two actors. Maria and her husband, Bringing new music to Nashville: Alias, including guitarist David Malone, had their Soprano Aileen Brimhall Itani founder/violinist Zeneba Bowers (top, second from left). fi rst child at the end of September. (BM ’98) was married this summer to Canadian fl utist Russell Itani. Louise Vickerman (MM ’95) and The two live in Copenhagen, where Peter Margulies (BM ’84) were mar- Russell plays with the Royal Danish By any other name ... ried June 21 in Glasgow, Scotland. Orchestra, and Aileen is in her The Eastman School is alive and well in Nashville, Tennes- They are both members of the Utah second year at the Opera Academy at Symphony Orchestra: Louis is prin- the Royal Theatre. Aileen made her see, under an assumed name. Quite literally, as a popular cipal harp and Peter is a member debuts this year at the Royal Theatre new musical group called Alias has a strong Eastman of the trumpet section. Louise was in Rigoletto and Tosca, and will sing contingent. recently appointed adjunct professor the role of Titania in the Opera of harp at Weber State University in Academy’s production of Britten’s Zeneba Bowers (BM ’94, MM ’96) is assistant principal Ogden. In fall 2002, Peter performed A Midsummer Night’s Dream in second violinist in the Nashville Symphony Orchestra and as soloist with the Utah Symphony in January 2004. the world premiere of Anthony Plog’s music director of Alias. Bowers and some Nashville musi- Concerto for Two Trumpets. Kevin Greenlaw (BM ’95) writes: cal friends started the ensemble in fall 2002 “to perform “So much has happened since my chamber music on our own terms, based solely on our Laura Griffi ths (BM ’91), principal Eastman years. I completed my own artistry and musical tastes.” Alias has made quite a oboe of the Rochester Philharmonic masters’ degree with the Royal Orchestra since 1994, was appointed Scottish Academy of Music and noise already in Nashville, playing several charity benefi ts principal oboe of the Cleveland Drama Opera School in Glasgow, and appearing at the Sewanee Summer Music Festival. Orchestra in August 2003. began a fi ve-year relationship with the Paris National Opera, moved NSO Music Director Kenneth Schermerhorn has called Terry Bacon (BM ’93) writes: “I am to Germany where I’m fi nishing Zeneba “a fi ne musician. She’s very expressive and a joy in my third year teaching senior high two years singing with the Theater to watch.” The energetic Zeneba was described as “Zim- band, 9th grade band, and AP Music Dortmund in roles such as Don ply Irresistible” by Nashville’s The Tennessean, which Theory at Churchville-Chili Senior Giovanni and Eugene Onegin, am High School (NY). I was the founding making my Glyndebourne debut next profi led her and Alias on May 4. president for the New York State year as Pelléas, and most importantly, Chapter of the Gordon Institute for I got married August 16, 2003 to an Alias just started its second season. The musical mix Music Learning and am fi nishing up amazing person named Allison Cook. spans over 300 years from Beethoven to Arvo Pärt to my term as past president. This past It feels great to make contact for the Sean Watkins (guitarist with the country group Nickel summer, my wife Marcy and I helped fi rst time after so many years, and if Creek). Several more Eastman alums play with Zeneba: to administrate and were instructors there’s anyone out there who might for the Middle School Band Camp at be living around the corner from hornist Leslie Norton (BM ’84); percussionist Christopher the Chautauqua Institution with ESM me and would like to share stories, Norton (BM ’83, MA ’86); and harpist Licia Jaskunas (MM alum Peter Lindblom (BM ’83).” please be in touch. Thanks Eastman!” ’91). This season, Alias is also performing a Sonata for Kevin’s e-mail address is kevingreenl Marimba and Horn by composer Charles Taylor (BM ’83). Christopher Martin (BM ’97), prin- [email protected]. cipal trumpet of the Atlanta Sym- There is much more information about the group at phony, appeared on the opening Thomas N. Bookhout (MM ’91) www.aliasmusic.org. program of the orchestra’s 2003¬04 writes that he recently accepted a season in September, as soloist in position as pastor of music at Camel- Haydn’s Trumpet Concerto, conducted back Bible Church in Phoenix, AZ: “I by music director Robert Spano. The oversee a large music ministry in one Atlanta Journal-Constitution said that of the fi nest acoustical spaces in the Martin “proved a polished soloist, southwestern United States.” one of the strongest section principals in the orchestra.” CONTINUED ON PAGE 48

PHOTOGRAPH COURTESY ZENEBA BOWERS December 2003 | Eastman Notes 47 ALUMNI NOTES

CONTINUED FROM PAGE 47 Susan Rice (BM ’96), string presentation was made by HRH The the United States Marine Corps educator and cellist in the Memphis Duke of Kent. Musician of the Year for 2003 by Daniel Koontz (BM ’92) writes: “I Symphony Orchestra, was recently Marine Corps Band Twentynine have one boy, Bowen Dermont, who named education manager of Clarinetist Brian W. Hermanson Palms (CA), for my service both is now 8 (yoiks). He’ll start 4th the MSO. (BM’ 02) has opened Hermanson as a musician and active duty grade in the fall. My wife Stacy is Reeds, manufacturing and selling Marine. I will receive a Certifi cate of the director of a theatre company Christopher Theofanidis (MM ’92) clarinet reeds worldwide. Hermanson Commendation for the nomination, in Riverhead, Long Island, and I recently won Great Britain’s third is pursuing a graduate degree at the and a Naval Achievement Medal if I teach music at Southampton College, Masterprize for composition, for Shepherd School of Music. Herman- am selected.” where I recently founded a computer Rainbow Body (recently recorded; see son married another Eastman alum, music studio. I completed a PhD in p. 43), an orchestral fantasy on a mel- fl utist Rachel Roberts (BM ’03) in David Brimhall (BM ’01) was composition at Stony Brook in 2000. ody by the medieval nun Hildegard July. Roberts is continuing her fl ute recently appointed new assistant I’ve also been musical director for of Bingen. The competition, started studies with Leone Buyse, as well as principal/utility horn of the Hono- numerous musicals at Southampton by businessman John McLaren, working with the Houston Symphony lulu Symphony Orchestra. College, most recently for The Best included a thousand entries from as artistic and production assistant. Little Whorehouse in Texas. My all- 65 countries; top prize is 25,000 Kevin Tan (BM ’00) was recently time favorite gig, though, was playing pounds (almost $42,000). Jamey Simmons (MM ’02) writes: promoted to assistant director of guitar for a production of Hair at the “Last spring I was hired full time tenure education and general manager of Bay Street Theatre in Sag Harbor.” Andréa Banke (BM ’95), was track at Middle Tennessee State Uni- civic ensembles for the Detroit Sym- recently named principal oboist of versity in the Jazz Studies Department. phony Orchestra, where he has been Deanna Sala (BM ’95) writes that the Rochester Philharmonic, where In September I traveled to Brussels, on the staff since August 2001. she and her husband Christopher she has served as acting principal Belgium as a fi nalist in the Brussels (BM ’94) are currently living in the since November 2002. She is also Jazz Orchestra International Composi- Marie Lickwar (MM ’02) was Washington, DC area, where Chris- guest principal oboe for the Saint tion Contest. My composition Lock Box recently appointed new fourth horn topher is a member of the U.S. Army Paul Chamber Orchestra. was the winning selection.” of the Santa Barbara (CA) Symphony. Band. They have a daughter, Sophia Jean Sala, born in January 2003. Christopher Koch (BM ’93) joined Sarah E. King (BM ’03) writes hap- Melissa Kelly (BM ’02) writes “I just the faculty of Bethel College (KS) in pily: “Right after graduating, I have moved to New York City to pursue Lisa Marie (Olson) Newton (BM August, and conducted the Bethel been hired as the general and vocal my career in opera. I’m living with ’91) moved to San Francisco in 2003 Sinfonia, a college-community music teacher in the Webster Central Abby Seible (’01). Job search is still to continue her acting career, and orchestra, for the fi rst time Novem- School District! I strongly believe in progress, but I’m optimistic. Best hopes to meet other San Francisco ber 17, in a program of music by that my education at Eastman played of luck to everyone.” ESM alumni. Stravinsky, Franck, Rimsky-Korsakov, a big role in my being employed so Grainger, and Dvorak. quickly.” Jennifer Pascual (DMA ’01) was Robert Lehmann (MM ’92) was appointed director of music of the appointed to the full-time faculty at Flute professor Bonita Boyd Tubist David Edward Vaughan Cathedral of St. Patrick in New York the University of Southern Maine (BM ’71) reports good news from sev- (BM ’00), now with the Bay Street City, effective September 1, by His School of Music as director of string eral of her students from the 1990s: Brassworks, simply writes: “Check Eminence, Edward Cardinal Egan, studies, conductor of the Southern Jennifer Regan (BM ’95) won First out the quintet at Archbishop of New York. Pascual Maine Symphony Orchestra, the Prize in the National Flute Associa- www.baystreetbrassworks.com!” also is the conductor of the New Portland Youth Symphony, and to tion 2003 Young Artists Competi- York Archdiocesan Festival Chorale the artist faculty in violin and viola. tion; Sung-Min Park (BM ’96) and Janinah Burnett (MM ’02) sang and is an accompanist for the Boys He continues as music director Esther Lee (BM ’94) were winners the role of Pamina in a “virtual Choir of Harlem, Inc. of the North Shore Philharmonic in the Artists international Competi- orchestration” version of Mozart’s Orchestra, and on the conducting tion 30th Anniversary Season, tak- Magic Flute in August 2003, by Sara Trafi cante (BM ’02) won First and coaching staff of the greater ing part in a Carnegie Hall recital; the Opera Company of Brooklyn. Prize in the Montreal Jeunes Artistes Boston Youth Symphony Orchestras. Donna Shin (BM ’97) was appointed The controversial version used 30 Competition; Alyce Johnson Last year he conducted the California Professor of Flute at Oklahoma State separate loudspeakers, each assigned (MM ’00) was appointed to the New and Maine All-State Orchestras and University; and Susan Self Huppert to reproduce a single instrument and World Symphony and Meg Sippey spent the summer as a fellow at the (BM ’92) was appointed co-principal to follow a conductor, and respond (MM ’01) principal fl ute of the American Academy of Conducting fl utist of the Baltimore Symphony. expressively to a variety of musical Evansville Symphony Orchestra. at Aspen. This year he will guest situations. Janinah is already no All were students of Bonita Boyd. conduct the St. John’s Chamber stranger to operatic controversy: Orchestra in California, in addition 2000s she was one of several Mimis in Baz Matt Curlee (MA ’01) debuted the to performing concerti and recitals Luhrmann’s Broadway production of new ensemble Neos at Rochester’s around New England. He and his Mezzo-soprano Sarah Lambert La Bohéme. Third Presbyterian Church. The wife Kimberly (Mitchell) (MM (MM ’00) performed the role of group features alumni Courtney ’03) welcomed their second child, Maddalena in Verdi’s Rigoletto on Melissa Sunderland (BM ’00) has Orlando (MA ’01, DMA ’03), Alexander Mitchell, on July 9. He June 28 with the Opera Company of begun her second year as director of Lawson White (BM ’99), Ted Poor joins older brother Eric, 6. Brooklyn, Jay D. Meetze, conductor. orchestras for Atlee High School and (BM ’03), and Ike Sturm (BM ’00, Chicakohominy Middle School out- MA ’03), and is recording and Wendy Koons (BM ’93) recently left In April, bassoonist Eric Goldman side of Richmond, VA. producing its fi rst album. Neos will the Charleston Symphony Orchestra (BM ’02) won the fi rst Vernon Elliott make its New York debut on January to take a violin section post with the Bassoon Prize at Trinity College of Mark Matthew Phelps (BM ’01) 29 at the Episcopal Church of the Chicago Symphony. Music in London. The October 17 writes: “I’ve been nominated for Heavenly Rest.

48 Eastman Notes | December 2003 FACULTY NOTES

Charitable

Gift On May 8, Eastman gathered in Cominsky Promenade to applaud 12 faculty members who completed at least 15 years of service in the Annuities 2002-03 school year. Toasts, led by Director and Dean Undercoﬂ er, were raised to Jean Barr and Peter Kurau (15 years); Jonathan Baldo, As you beneﬁ t, so does Thomas Donnan, and Robert Wason (20 years); John Marcellus, Marie the Eastman School of Music Rolf, and Allan Schindler (25 years); Jürgen Thym (30 years); and John Beck, John Maloy, and Vincent Lenti (40 years). Pictured are: front l-r, Jean Barr and Marie Rolf; rear l-r, Vincent Lenti, Robert Wason, Allan Schindler, Jürgen Thym.

Charles Castleman, professor of vio- the American Academy in Rome. Single-Life Gift Annuity Rates lin and chair of the Strings, Harp, and Freitas was one of 31 fellowship Guitar Department, was interviewed winners announced on April 24.

AGE RATE extensively this summer for the Aus- He’ll spend a full year in Italy, tralian music magazine Stringendo. researching and writing his current 65 6.0% Topics of conversation included vio- project, “Style and Meaning in the 70 6.5% lin “shoptalk,” Castleman’s experi- Mid-Seicento [17th-century] Italian ences with such violin legends as Cantata.” 75 7.1% David Oistrakh and Henryk Szerying, 80 8.0% his own teaching experiences, and Professor of Musicology Ralph Locke 85 9.5% advice to young string players. won three notable awards this fall. In December, he won his fourth ASCAP/ Lynn Blakeslee, professor of violin, Deems Taylor Award for his article Charitable gift annuities return spent July and August at the Raabs in the book Teaching Music History guaranteed income to the annuitant for life. Music Academy, housed in an old (edited by Mary Natvig PhD ’91). castle in Raabs, Austria, giving cham- Earlier this year, The Concert Compan- ber music performances and mas- ion, an WXXI-FM program featuring In most cases, a portion of annuity ter classes. For information on the Rochester Philharmonic Music Direc- payments are tax-free. Academy, visit www.raabsmusik.com tor Christopher Seaman, won the (English version). Silver Reel Award from the National Federation of Community Broadcast- The Kopelman Quartet, an ensemble ers and the 2003 Gabriel Award for To learn more about charitable gift annuities, of Moscow Conservatory graduates Best Short Feature in Radio Markets please call or write: led by professor of violin Mikhail 26+. Most of the scripts were written Kopelman, made its UK debut at by Locke, who says “the music dis- Jack Kreckel the Edinburgh International Festival cussed … ranged from Beethoven to Ofﬁ ce of Trusts and Estates in August, playing Schubert’s Quar- Tchaikovsky to John Adams, and was 590 Mt. Hope Avenue tettsatz and “Death and the Maiden” largely hinged on the repertoire to be Quartet and Tchaikovsky’s Third performed by the RPO in the subse- Rochester, NY 14620 Quartet. ’… the Kopelman’s lustrous quent few weeks.” (585) 273-5904 or (800) 635-4672 sound was strong and decisive, swoop- E-mail: [email protected] ing from tender lyricism to bursts of Early in November, assistant pro- ﬁ ery passion,” wrote The Scotsman. fessor of composition Carlos San- We invite you to visit our planned giving web site at chez-Gutierrez led a trip of several http://rochester.plannedgifts.org Assistant professor of musicology Eastman composition students to Roger Freitas is spending the Toronto to attend a master class and 2003¬04 academic year as a fellow at CONTINUED ON PAGE 50

PHOTOGRAPH BY AMY VETTER December 2003 | Eastman Notes 49 FACULTY NOTES

On August 31, Professor of Trombone John Marcellus celebrated his 25th year at Eastman in a concert with the Eastman Trombone Choir and alumni at Bemis Point, Lake Chautauqua, NY. Marcellus is the white-jacketed conductor in the middle of the group.

CONTINUED FROM PAGE 49 tion). The Rochester premiere was At the Eastman School’s 2003 Com- Strempel in December; a New York concerts with the renowned contem- December 9 at School for the Arts; mencement, professor of percussion State Songbook recital in Utica in porary German composer Helmut it was also performed December 12 John Beck was awarded the Edward February, also with Strempel; and Lachenmann. Sanchez-Gutierrez’s at CAMI Hall in New York City. This Peck Curtis Award for excellence in a March concert of music by David De Kooning Movements (2001) was September both Walt and Chien- undergraduate teaching. In October, Liptak in Kilbourn Hall (with violin- performed by the Syracuse Society Kwan began their second year on the John spoke at the Rochester Philhar- ist Pia Liptak). Beaudette and Strem- for New Music in November. ESM collegiate faculty.” (Notes notes: monic Orchestra League’s annual pel’s CD Love Lies Bleeding (Centaur), Ray also celebrated his 60th birthday luncheon. of songs by Libby Larsen, was sched- Kim Kowalke, professor of musicol- in October with a “Senior Recital” uled for release this fall. ogy and chair of the Department of in Kilbourn Hall, playing clarinet In August, Harold Danko, chair of Music in the College, was named the and saxophone, with help from col- the jazz and contemporary media Bill Dobbins, professor of jazz stud- University of Rochester’s Richard leagues Kenneth Grant, Barry Sny- department, received a 2003¬2004 ies and contemporary media, con- L. Turner Professor of Humanities der, Nancy Boone, Joe Werner, Jeff ASCAP Award, “based upon the ducted the Chicago Jazz Ensemble this fall. Campbell, and Bill Dobbins.) unique prestige value of each writer’s on November 14, 15, 21, and 22, in catalogue of original compositions.” selections from the Latin jazz reper- “Eastman’s saxophone professors Associate professor of conducting toire, including the American pre- have been very busy in the last Brad Lubman has had a busy fall. In October, Sylvie Beaudette, assis- miere of Dobbins’ Concerto for Jazz few months,” writes professor Ray Besides several Musica Nova and tant professor of piano accompa- Orchestra, written in 2000 for the Ricker. “In July, Chien-Kwan Lin Ossia concerts at Eastman, he led nying (part-time) participated in WDR Big Band, Cologne, Germany. and his wife, pianist Pi-Lin Ni, pre- John Zorn’s Chimeras at a Zorn lecture-recitals at the New York He also presented lectures and miered two works at the 13th World 50th birthday concert at Tonic in State Music Teachers Association workshop sessions at Columbia Saxophone Congress in Minneapolis: New York City in September, then (New Paltz) and at Syracuse Univer- College. His new CD Tree, with bass- Brian Cobb’s In a Far Country and Lei returned to New York in November sity. In New Paltz, she also took part ist John Goldsby and drummer Peter Liang’s Memories of Xiaoxiang. The to conduct Oliver Knussen’s Ophelia in the premiere of Richard Pearson Erskine, will be released before the works were described as ’brilliantly Dances and Songs Without Voices Thomas’ A Wicked Girl. Upcoming end of the year on the Fuzzy Music performed,’ and one reviewer called at Weill Hall. This month, Brad appearances include a New York City label, with a European tour to follow Lin one of ’three excellent young rehearses Frankfurt’s Ensemble concert with soprano Eileen in 2004¬05. saxophone professors (at the Con- Modern for two January concerts gress).’ Last April, I traveled to Japan in Taiwan; repertory includes to present master classes and con- Webern, Nancarrow, Goebbels, and CORRECTIONS certs with Eastman alums Todd and Lachenmann. Chandra Lowery at Harmony, their Notes incorrectly reported the Orchestra while they were on tour. music school in Kiryushi, and gave a Recent premieres of music by associ- 2002¬2003 Handel & Haydn Soci- Greer also was named adjunct harp master class at Yamagati in the Ginza ate professor of composition Ricardo ety’s Christopher Hogwood Research professor at Carthage College in district of Tokyo. Walt Weiskopf Zohn-Muldoon include GuiTango Fellow as Mary (Hadcock) Greer Kenosha, WI, and is administrative has been touring with Steely Dan’s for guitar ensemble (Cincinnati, (BM ’61; MM ’63). The recipient was and community coordinator with the “Everything Must Go” tour, perform- May 2003), Candelabra III for per- Mary J. Greer of New York City. Our Civic Orchestra of Chicago. ing throughout the United States cussion, piano, bass clarinet, and alumna Greer is documentation man- and Canada. In October, Walt took string orchestra (Mexico City, May ager at Netegrity, Inc. in Waltham, Alumna Sara Jones (BM ’50) noted an his nonet to the annual jazz festival 2003), Ninopolilla for three sing- MA. Notes regrets the error. error in our reprint of a lecture given in Rio de Janeiro. He also performed ers and chamber orchestra (Reak- by Richard Pearlman at Eastman. The and recorded Sight to Sound, his new torhalle, Munich, June 2003), and Notes wishes to clarify news from opera MotherBone was scored by com- music for jazz sextet, written in con- Hebras for soprano, oboe, percussion, Marguerite Lynn Greer (BM ’01). poser Graham Reynolds. Jason Neu- junction with a grant from Cham- piano, and contrabass, performed She recently appeared with the lander is artistic director of Salvage ber Music America’s Creation and by Muzyka Centrum in Hannover Ravinia Festival and Chicago Sym- Vanguard Theater Company in Austin, Presentation Program (funded by (August), Krakow (September), and phony orchestras at the Ravinia TX, who produced the opera. Notes the Doris Duke Charitable Founda- Amsterdam (October). Festival, and played with the Kirov regrets the error.

50 Eastman Notes | December 2003 PHOTOGRAPH COURTESY JOHN MARCELLUS FACULTY NOTES Eastman welcomes new faculty

Eastman welcomed four new faculty doctorate from Harvard University. One of members this fall: two theorists, a composer, her specialties, and the subject of her Harvard Carlos Sanchez- and a saxophonist. Eastman’s faculty now dissertation, is the interaction and fusion Gutierrez comprises over 130 accomplished artists, of text and music in the choral works of Associate Professor of Composition scholars, and teachers. the socially committed 20th-century Italian Carlos Sanchez- composer Luigi Nono. Guerrero’s secondary Complete biographies of all faculty members Gutierrez’ music has area of interest is historical musicology, can be seen on Eastman’s website. been described as including 14th- and 15th-century Italian music. “vigorously organized “As a scholar, I value the richness that multiple and highly visceral … perspectives bring to challenging problems,” Matthew BaileyShea neither eclectic nor says Guerrero. “I strive to prepare [students] Assistant Professor of Theory, part-time post-modern, not for life not only as musicians, but also as Assistant Professor of Music, the College, owing allegiance to powerful thinkers in general.” University of Rochester any passing fashion.” Matthew BaileyShea, His recent interest in vocal and stage works a 1996 composition Chien-Kwan Lin has led to a number of compositions that graduate of Con- Collegiate Instructor of Saxophone, employ the human voice and its dramatic necticut College, part-time potential. Born in Mexico City, Sanchez- completed his PhD Gutierrez has received master’s degrees from Chien-Kwan Lin, a this year at Yale Peabody Conservatory in 1989 and from native of Singa- University with a Yale in 1991, and a doctorate from Princeton pore, has enjoyed a dissertation entitled, University in 1996. He came to Eastman from multi-faceted career, “The Wagnerian Satz: San Francisco State University, where he had beginning with his The Rhetoric of the Sentence in Wagner’s taught theory and composition since 1995. winning top prizes in Post-Lohengrin Operas.” A member of the Among his many fellowships and awards Singapore’s National Society for Music Theory, the American are a Charles Ives Fellowship from the Music Competition Musicological Society, the College Music American Academy of Arts and Letters, four consecutive Society, and the New England chapters of Guggenheim and Rockefeller Foundation times (violin category, 1981–89). He then stud- SMT and AMS, he was involved in numerous Fellowships, a Fulbright International ied conducting with British conductor and initiatives at Yale while completing his dis- Fellowship, and fi rst prize in the Sinfonica educator Derek Cable, and won the Best Con- sertation. He was co-editor and contributing Orchestra Composition Competition. He ductor Award at the 12th National Band Lead- author for an 80-page teaching manual that also has written numerous scores for videos, ers Festival in 1986. He has appeared as soloist is distributed to all graduate student teach- feature fi lms, and theatrical productions. and guest artist with important American ers at Yale. His article “Wagner’s Loosely Knit ensembles including the New England Con- Sentences and the Drama of Musical Form” is servatory and Eastman Wind Ensembles, the forthcoming in Intégral. Boston Modern Orchestra Project, and Tan- glewood Music Center Festival Orchestra. Lin Jeannie Guerrero holds a Performer’s Certifi cate from Eastman, Assistant Professor of Theory where he also is completing a Doctor of Musi- cal Arts degree. He received his bachelor and After receiving master of music degrees, both with top hon- bachelor’s degrees ors, from the New England Conservatory. from the University of Chicago (classical languages and literature, 1993) and from Eastman (music theory and piano, 1998), Jeannie Guerrero earned a master’s degree and

December 2003 | Eastman Notes 51 STUDENT NOTES

Sergio Monteiro, a doctoral student (Wooster, OH), and Faith Sherman of Nelita True, won First Prize attended the Music Academy of the in the second Martha Argerich West to study with Marilyn Horne. international Piano Competition in Buenos Aires in August. The prize Daniel Hinson, a master’s degree included not only $10,000, but also candidate in voice, is one of 43 an opportunity to perform in concert winners of Jack Kent Cooke Awards with the renowned Argentinian for Graduate Education, awarded pianist on September 4 in the when he was a graduating senior at Teatro Colon. Sergio played the the University of North Carolina, Bartók Third Concerto, Argerich the Chapel Hill. Each winner receives Beethoven First – both conducted by up to $50,000 per year to complete Charles Dutoit. graduate or professional degrees.

Pianist Zarina Melik-Stepanova, a Singer Ted Christopher recently doctoral student of Natalya Anton- had debut performances with ova, won First Prize in the Young Cleveland Opera, Skylight Opera Artists Auditions of the National Fed- Theatre, New England Lyric Oper- eration of Music Clubs (NFMC). The etta, Bel Canto Chorus, and the prize consists of a $10,000 award Orchestra of Milwaukee. and two years of professional career management. Zarina’s fi rst tour Junior Karen Sorenson received began in Arkansas in September; On October 19, the Rochester Philharmonic Orchestra and its the fi rst place Ornest Prize in the in October, she was featured at the Principal Pops Conductor Jeff Tyzik (BM ’73, MM ’77) presented no 26th Annual Competition for Sing- NFMC Ohio State Convention. ers. Sorenson attended the Aspen less than nine Eastman students as soloists in a “Stars of Tomorrow” Music School Summer Festival with Good news for 2003 from the studio concert. Notes (with help from the RPO) tracked down all nine for a Eastman colleague Erin Snell. of Fernando Laires: Zhe Li was picture with Tyzik backstage in the Eastman Theatre. They are: appointed professor at Shenyang Sophomore pianist Christopher Normal University, Shenyang, China. Back row (left to right): Ted Christopher (baritone and DMA Mokrzewski placed second in the Linda Boinova was accepted at candidate, student of Robert McIver), Dan Loomis (double bass and Empire State Piano Competition. the Geza Anda Competition in MM candidate in JCM), Jared Schonig (drums, junior in JCM), Clarence Zurich. Louise Chan won a senior Junior pianist David Berry won third prize at the Kiwanis Competition Hines (trombone, MM candidate in Jazz Studies and Contemporary prize at the Thousand Islands Inter- and Festival in Ottawa; she and Media). Front row (left to right): Leah Edwards (soprano, senior national Piano Competition. Kan Chiu participated in the student of Robert McIver), Katherine Hutchings (percussion and DMA International Workshops in Biarritz, Pianists Joseph Liccardo, Wayne candidate, student of John Beck), Michael Stryker (piano, sophomore France, last summer. Moises Ruiz Weng, and Hong Xu all participated de Guana is studying at the Liszt in JCM), Jeff Tyzik, Renée Helen DeBoer (bassoon and MM candidate, in the Van Cliburn International Academy, Budapest, with Professor student of John Hunt), Man-Shan Yap (piano and DMA candidate, Piano Institute last summer. Ferenc Rados. Seyon Lee spent this student of Nelita True). fall studying at the Royal College of Seth Brodsky received a Sacher Music, London. It’s been a big year for Jeff Tyzik as well: not only did he celebrate Foundation Fellowship to study com- his 10th anniversary with the Rochester Philharmonic with a pair of posers’ manuscripts in Zurich, Swit- Senior Julia Fagan, a student of zerland. Peter Kurau, recently won the sec- pops concerts on October 17 and 18, he was recently named principal ond horn position in the Harrisburg pops conductor for the Winnipeg Symphony Orchestra. And he Graduate student Brian Russell, junior (PA) Symphony, and was runner-up has achieved the kind of 21st-century American fame reserved for Julia Kemp, and junior Nathaniel for second horn in the Jacksonville the likes of Derek Jeter or N’Sync: his very own bobblehead doll, Voelker were all fi nalists in the Stu- (FL) Symphony. Professor Kurau dent Conducting Competition for the adds, “The Harrisburg Symphony has introduced by the RPO in October. Tyzik’s doll is perhaps unique: American Choral Directors Association. been well populated with ESM horn its head bobbles, but befi tting a conductor, so does its right hand students and alumni. Teresa Bosch (holding a baton, of course). Violinist Ainur Zabenova was (MM ’98) is currently third horn; accepted into the Pancho Vladigerov Mark Houghton (BM ’02) served as International Violin Competition principal horn for 1½ seasons; and On May 12, the Voice Department Last summer, voice students Benjamin in Bulgaria, as well as the Jeunesses Barbara Showalter (MM ’98) is a announced the winners of the 22nd Dale, Drake Dantzler, Kirk Dough- Musicales Montreal International frequent substitute performer with Annual Jessie Kneisel Competition. erty, Leah Edwards, Jennifer Gliere, Competition. the orchestra.” In Voice: First Place, Erin Snell; J. J. Hudson, Adam Martin, Hather Second Place, Mary Allison Netz, Mari-Yan Pringle, and Sonia Freshman Zach Hemenway was Clay Greenberg, currently a DMA Grandey; Third Place, Munenori Rodríguez Bermejo all participated awarded First Prize in the American candidate in conducting, won an Sugetani; Honorable Mention, in the Centro Studi Italiani Opera Fes- Guild of Organists Regional Young Eastman Professional Development Valerie Kopinski. In Piano: First tival in Urbania, Italy. Seniors Pablo Artists Organ Competition. He com- grant to study and do research in Place, Ji-Eun Han; Second Place, Bustos and Danielle McCormick sang peted in the St. Louis chapter of the Indonesia in the summer of 2003. Joy Puckett. with the Ohio Light Opera Company American Guild of Organists.

52 Eastman Notes | December 2003 PHOTOGRAPH BY GELFAND-PIPER Photo by Louis Ouzer

EASTMAN SCHOOL OF MUSIC - LEGEND #001961

'Twas the last day of classes, when all through Main Hall Students were stirring; there was excitement for all! An annual tradition of musical cheer, Holiday Sing commenced one more year.

As far back as anyone at Eastman can remember, the final day of the fall semester has been marked by a celebration of music in the Main Hall, with students performing for other students, faculty, staff, and returning alumni. It was, and still is, not only a celebration of the holidays, but also an end to classes—a well-deserved break, until the New Year and the new semester.

For over 80 years, the Eastman School of Music has been inspiring artistry, scholarship, leadership, and tradition.

Support the Eastman Fund today and help keep the legends alive.

Eastman School of Music T 866-354-2111 (toll free) T 585-274-1044 www.rochester.edu/Eastman/giving T [email protected] PHOTOGRAPH BY KURT BROWNELL Coming out at Eastman Students in the Eastman Pride network observed National Coming biographies of gay and lesbian composers and performers, including Out Day by giving out ﬂ yers and rainbow ribbons – and lots of smiles Tchaikovsky, Aaron Copland, and Pauline Oliveros. – in the Main Hall on October 10. Among the almost 50 students National Coming Out Day was not widely observed at Eastman involved were (pictured left to right) sophomore Zachary Wilder, last year, but Haynes, a tuba major, says “We want to turn Coming master’s student Brian Kittredge, and sophomore Antonio Haynes, Out Day into a positive event at Eastman. We also want to be more president of Eastman’s Pride Network. active.” Future plans include activities for Youth Pride Month in April, On display in observance of Gay History Month were “Coming Out a guest speaker on transgender issues, and a presentation on the Stories” from many sources, including Eastman students, and short concept of the “Safe Zone” for GLBT students.

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