WINTER 2006

sonoritiesThe News Magazine of the University of School of DANA HALL FROM ROCKETS TO RACKETS

Starting at the Top: JOHN GOES FOR BAROQUE The Careers of Four Violinists

Sousa Archives and Center for American Music Join the Smithsonian

Illinois Wind Symphony at Campus News

From the Dean

The School of Music continues to excel as a compre- hensive music school within the profession, among our sonorities peers and here in the university community. You will Winter 2006 read in this publication of the phenomenal new faculty who are joining us in the College and of the success of Published for alumni and friends of the our continuing faculty, students and alumni. On the School of Music at the University of Illinois day that I write this greeting, the Illinois Brass Quintet at Urbana-Champaign will be featured at the campus convocation for new freshmen—providing a wonderful introduction to the serious joy of music The School of Music is a unit of the College making by seasoned, expert faculty artists. Within several months, the cam- of Fine and Applied Arts at the University pus will hear the unique programming of the Sinfonia da Camera as this of Illinois at Urbana-Champaign and has ensemble embraces dance in its presentation of both new and classic work, been an accredited institutional member of the overwhelming technique and performance bravado of our resident world- the National Association of Schools of Music since 1933. renowned Pacifica Quartet, and the varied manifestations of American . I name only a few of the remarkable performances we can anticipate.

Karl Kramer, director With the vibrant leadership of its director and faculty, every major program Edward Rath, associate director in the School is deepening its commitment to musical excellence—whether it David Atwater, assistant director, business be performance, education, composition or . Active in community Joyce Griggs, assistant director, enrollment building and outreach, the School has enhanced the College’s presence in East management and public engagement St. Louis, working with the school system to re-install its music program. On Marlah Bonner-McDuffie, associate director, development campus, the faculty provide leadership in joint academic programs with other Suzanne Hassler, coordinator, alumni colleges including the Russian, East European and Eurasian Center. Our relations and development strings program is revitalized and reaching out to the schools in the state of Illinois. This summer a composition student wrote a piece that lauded Lance Suzanne Hassler, editor Armstrong and received regional and national press attention! Music-making Anne Mischakoff Heiles, features writer and music scholarship have never been so richly represented at Illinois.

Contributing Writers: Leadership in music and all the arts has taken a new shape in this millenni- Herschel V. Beasley um. Entrepreneurial energy and collaborations among musicians, among Danielle Gaines teachers, among administrators, among alumni make for a School of Music Andrea Lynn that not only celebrates its heritage but that also assumes the mantle of Melissa Mitchell responsibility in educating students for serious music making and study in Antoinette Pomata this century. Your gifts of time, attention and financial support have aided the Joseph Rassel School in providing the hallmark of an Illinois education. We thank you for Special thanks to Bruno Nettl your gifts which make our programs possible.

BonadiesCreative Inc., design Come visit us again—try something new…read the scholarship of one of our Cover Photos: Chris Brown Photography ethnomusicologists, attend a New Music concert, catch the Symphonic Bands at Carnegie Hall this February. You will be enriched. UI School of Music on the Internet: http://www.music.uiuc.edu Kathleen F. Conlin Dean, College of Fine and Applied Arts in this issue

From the Director

Return of Empty Nest and the TT Chronicles

This past summer, Jean and I experienced the empty nest syndrome all over again. Our younger daughter, Kristen, who was living in Walnut Creek, CA, picked up and moved to New Zealand at the Winter 2006 end of July, accepting a coaching position with a synchronized swimming team in Auckland. Sara, our older daughter, became another employed UI alum, winning the /English horn position with CAMPUS NEWS the Tucson Symphony and moving from Urbana (it was critical that she be an Urbana resident so she 2 Smithsonian Affiliation could claim she did not live in the same town as her parents) to Tucson in August. Within three weeks, Hurricane Benefit one daughter left the country and the other left the time zone. 3 4 Smith Hall Preservation As I headed down I-40 in my Audi TT toward Tucson to help Sara with her move, the top down and Enescu Premiere the Bartók String Quartets playing in my ears via my iPod, an Arkansas State Trooper pulled up 4 alongside and informed me through his megaphone that if I did not remove my headphones immedi- 6 Leonhard Legacy Conference ately I would be making a significant contribution to the Arkansas highway fund. I, of course, com- Turns 50 plied and decided to try the radio. Did you know that the only thing you can pick up on the radio in 7 rural Arkansas and east Texas is either country music or Rush Limbaugh? I opted for country music.

COVER STORY In the classical world, we have gentle, descriptive titles like On Hearing the First Cuckoo in Spring, or 8 John Walter Hill’s Baroque Prelude to the Afternoon of a Faun; uplifting titles such as Symphony #2, Resurrection, or A Hero’s Music Life; and contemplative titles like Quartet #2, Intimate Letters, or Sonata Pathétique. Titles of country music songs are somewhat different in nature, however. Generally, I could categorize the songs I heard into several different genres: unrequited love, for example, I Gave Her a Ring and She Gave FEATURES Me the Finger, or My Wife Ran Away with My Best Friend, and I Sure Do Miss Him; titles with spiritu- al connotations including Drop Kick Me Jesus Through the Goal Posts of Life and I’ve Been Roped and 28 It’s Not Rocket Science: Throwed by Jesus in the Holy Ghost Corral; and those that allude to some sort of liquid refreshment Jazz Engineer Dana Hall like I’d Rather Have a Bottle in Front of Me than a Frontal Lobotomy, or She’s Acting Single and I’m 35 Alumni Profiles: Drinkin’ Doubles. Finally, there are songs which one simply cannot categorize: I Don’t Know Whether Starting at the Top: Four to Kill Myself or Go Bowling. Thankfully, as I got closer to the Dallas/Ft. Worth area more stations Violinists became available. Lo and behold, but if I didn’t hear the new recording of the Mendelssohn String Quartets by our own Pacifica Quartet (the first chamber ensemble I know of that has a car named after them). DEPARTMENTS Admissions Activities Speaking of the Pacifica, the School’s resident quartet is now a quintet! First violinist Simin Ganatra 13 gave birth to a baby girl, Layla Juliette Vamos, on September 24—the same day the quartet was to 14 Development Update christen the School’s new performance venue at Allerton Park with a short concert. Fortunately, there New Appointments was no shortage of talent on hand to cover the occasion as the graduate stepped in to 17 perform the inaugural concert in the new venue—a beautiful barn, built in the late 19th century, that 21 Book News & Reviews has been refurbished and outfitted with a theatrical lighting system. It will now serve as a three-season Faculty News (late spring, summer, early fall) hall, allowing us to do all kinds of interesting performances. Stay 23 tuned for further details as we begin to develop various concert series in this new, old space. 33 Student News Band Notes There is plenty of news pertaining to both faculty and alumni throughout this 41 issue, so happy reading. Keep in mind that I’m very interested in what people 42 Alumni Events w are listening to these days; please include a printout of your iPod playlist with Alumni News your contribution to the annual fund. The most interesting playlist gets a men- 43 i n tion in my next column. Partners in Tempo 50 t e r 2 0 Karl Kramer 0 Director, School of Music 6 1 Campus News

According to Schwartz, the SI sees its UIUC Granted Affiliate Status affiliates as “vehicles to help get its collec- tions out to the broadest public possible.” by Smithsonian Institution Last year an estimated 21 million people visited Smithsonian-Affiliate institutions. Andrea Lynn, UIUC News Bureau The Smithsonian also helps promote the preservation and educational missions of its affiliates and facilitates “greater collab- oration between its affiliates across the country and world – one of the greatest benefits of an affiliation with the SI,” Schwartz said. Others involved in the application for membership were Paula Kaufman, universi- ty librarian, and Pauline Cochrane, profes- sor emerita, both in the University Library; Kathleen Harleman, director, and Karen Hewitt, deputy director, Krannert Art Muse- The 159-year-old Smithsonian Institution ward to strengthening the relationship um; and Richard Herman, chancellor of has opened its doors – and collections – to between our institutions to expand and the Urbana campus. a slightly younger cousin across the coun- enhance that service.” Affiliate organizations may integrate try. The renowned institution in Washing- Three U. of I. units—the Krannert Art Smithsonian collections into exhibitions, ton, D.C., has invited the 137-year-old Museum, the University Library, and educational initiatives and research pro- University of Illinois at Urbana-Champaign SACAM, which is under the aegis of the grams; incorporate the many outreach into its prestigious Affiliations Program. Library—got the affiliation process rolling. services of the Smithsonian: curriculum Affiliation with the renowned institution Those three units will be early beneficiaries development in local schools, lectures, trav- that “offers the world a picture of America, of the partnership, but the benefits will be eling exhibitions, workshops and study and America a picture of the world,” available campuswide, including all other tours; and “borrow” Smithsonian staff brings a host of privileges, including U. of I. museums, galleries and collections. expertise in areas of conservation, collec- greater access to the institution’s 137 mil- tions care and exhibition development. lion objects, many of them priceless. The Schwartz also sees enhanced opportu- institution considers affiliation with organi- nities for Illinois faculty and students to par- zations whose mission is parallel to its own ticipate in a variety of internships and an “increase and diffusion of knowledge.” fellowships at and through the SI and Illinois is among only a handful of insti- working with leaders from diverse academ- tutions of higher education that have been ic, museum, archives, library and preser- granted affiliate status; most affiliates are vation communities in the nation’s capital. individual museums. Joining Illinois in the “But, the opportunity to develop new class of 2005 is the San Diego Aerospace and innovative collaborations across aca- Museum in California, bringing the num- Scott Schwartz, director of the Sousa Archives and Center for demic disciplines at Illinois is perhaps the ber of SI affiliates to 142 in 39 states, plus American Music (SACAM), will serve as the liaison between uni- greatest benefit of the new affiliation,” said versity units and the 159-year-old Smithsonian institution. the District of Columbia, Puerto Rico and Schwartz, who began the process to Panama. Scott Schwartz, director of SACAM, obtain SI affiliation more than a year ago. Aaron Glavas, senior coordinator of the will serve as the liaison or facilitator He knew the effort to “establish a vital link Smithsonian Affiliations Program, said that between university units and the SI. He and collaborative relationship” would be s well worth his time because he had been o Illinois and its museums, including the said he takes “great pride in knowing that n Sousa Archives and Center for American these two internationally recognized institu- an archivist for the SI’s Duke Ellington and o American Music Collections in the Archives r Music (SACAM), “perform a vital public tions of higher knowledge—the SI and the i service for the people of Illinois and visi- U. of I.—have come together for the better- Center of the National Museum of Ameri- t tors throughout the region. We look for- ment of learning for future generations.” can History (NMAH), Behring Center, i before coming to Illinois in 2003. e s 2 Thus Schwartz also knew that as an ber Ensemble and the SI’s Stradivarius and downtown Champaign; lectures by promi- affiliate, the university would be able to Amati violins for a month-long festival ten- nent physicians on music and healing; and share the SI’s public programming, educa- tatively titled “Illinois Chautauqua: Life exhibitions. tional outreach, academic mentoring and Long Learning Through the Performing With more than 10 million volumes, the be able to borrow historical artifacts for Arts.” University Library is the largest public uni- exhibitions “in ways that would not have “By becoming an affiliate, the university versity collection in the world. The Krannert been as possible had we not become an has elevated its loan request for these his- Art Museum’s strengths include the Trees affiliate.” toric music instruments by demonstrating Collection of European and American He said he recognized that the partner- that it shares with the SI a mission of aca- Painting, the Olsen Collection of pre- ship would “expedite” the process of bor- demic excellence, educational outreach Columbia Art, a small but exquisite collec- rowing objects from the SI, something with and public engagement.” tion of Asian art, and a large and which he also has some acquaintance. This November’s American Music important collection of works on paper. Last year, for example, and largely the Month , detailed at SACAM is home to the world’s single- result of his existing relationship with the www.library.uiuc.edu/sousa and titled largest collection of original compositions staff of the NMAH, Schwartz borrowed “Lifescapes of America’s Music,” featured and by John Philip Sousa, John Philip Sousa sheet music and piano a performance of original jazz composi- including many Sousa artifacts, and has rolls, and hired the Smithsonian Jazz Mas- tions by Billy Strayhorn and lectures by strong collections of 20th century electron- terworks Orchestra. Walter van de Leur, artistic director of the ic and avant-garde music, a repository of For the 2006 celebration of American Dutch Jazz Orchestra and the leading archival papers documenting America’s Music Month at Illinois, Schwartz is plan- Strayhorn scholar; a youth fiddling contest wind band traditions, and select ethnomu- ning once again to tap the SI, specifically, and benefit concert for the preservation of sicological papers from the faculty and to bring to campus the Smithsonian Cham- American music at the Virginia Theatre in staff at the University of IIlinois.

‘Shelter from the Storm’ Concerts Benefit Hurricane Victims Antoinette Pomata, Alumni Relations and Development Staff

Two concerts were held in October to benefit victims of hurricanes Katrina and Rita, featuring musi- cians from the University of Illinois and the Champaign-Urbana community. The first concert, held on October 7th, 2005 in the Foellinger Auditorium, was supported by the University of Illinois and fea- tured Ian Hobson, the University of Illinois Black Chorus under the direction of Dr. Ollie Watts Davis, and the University of Illinois Jazz Band. Pre-concert entertainment was provided by the Uni- versity of Illinois Graduate String Quartet, and sound production by Knox Productions. The $10 vol- untary donation at the door raised approximately $1,300 in aid to the gulf area. A second all-day concert held on October 15th included performances by local bands Bruiser with the Javelinas, Unfinished Business, The Delta Kings, Kilborn Alley, Tom Turino & Big Grove “Shelter from the Storm” benefit brings School Zydeco, Anglo-Afro Beat Experience, The Painkillers, Jamnation, and Beat Kitchen. Alto Vineyards of Music and local musicians together. hosted the event, and also contributed all money made in tips to the cause; in addition, over 20 area businesses, including Lil’ Porgy’s Bar-B-Que and Pekara Bakery, provided food and contributed prizes. The concert at the vine- yard, with several hundred people in attendance, raised $4,700; combined with private donations, this brought the total amount raised to $7,000. “These benefit concerts give all of us the chance to pull together and strengthen our unity by helping others in need,” said concert organizer David Adcock; “We’re also able to enjoy the diverse and rich musical culture that exists here.” w Said co-organizer Steven Errede, “[the concerts] were driven by very gut-wrenching feelings about what we were seeing in the i areas affected by the hurricanes... the music down there, and the culture, there’s a risk of losing that.” n t Proceeds from the benefit concerts went to the American Red Cross Disaster Relief Fund, the Habitat for Humanity, the Humane e Society of the , and MusiCares, the relief branch of the National Academy of Recording Arts and Sciences. MusiCares r is working with the Lafayette Alliance to provide funding, medical care and other assistance to displaced New Orleans musicians. 2 0 0 6 3 Campus News

University History to be Preserved Thanks to Grant Danielle Gaines, Daily Illini, used with permission of Illini Media “The subject considered The Campus Heritage Grant, recently “It will be interesting to learn more seems to pertain to us today awarded to the University by the Getty about the buildings that we take classes more than ever.” Foundation, aims to in,” said Chao Tantipjitkasem, preserve campus histo- a senior in LAS. “Our campus ry through documenta- has such great history, know- tion of UIUC campus ing more about it will increase buildings, including the the pride we have in our uni- School of Music’s Smith versity.” Memorial Hall. The Uni- Currently, the University versity of Illinois is home to two National His- Urbana-Champaign toric Landmarks: the Observa- campus is one of only tory and 10 colleges and univer- Morrow Plots. sities in the United Additionally, States to receive a there are nine 2005 Campus Heritage sites listed in Grant. The award the National amount is $175,000 to be used over a Register of two-year period. Historic “It is a wonderful grant that we are Historic preservation project to include Places, includ- very fortunate to have received,” said Smith Memorial Hall. ing Smith John Garner, professor of architecture. Hall, which houses a 900-seat mahogany “These are important cultural facilities that paneled recital hall, a three-manual Casa- have meaning both to present users and vant concert organ, and the jewel-like

those who have been here in the past, so Smith Memorial Room, a drawing-room Photo by L. Brian Stauffer we need to take stock of these resources reminiscent of European palaces with crys- Faculty violinist and long-time Sinfonia da Camera concert- master Sherban Lupu orchestrated the American premiere of and make sure that we don’t do anything tal chandeliers and elegant décor that George Enescu’s “Oedipe” on October 15, 2005. foolish to cause their loss,” he said. offers an ideal setting for chamber con- Through the grant, a preservation main- certs and harpsichord recitals. There are Fifty years after the death of Romanian tenance plan is being developed for his- also approximately 95 other buildings on composer and musician George Enescu, toric buildings. An educational campaign the UIUC campus eligible for listings. his opera Oedipe—based on the Oedi- about these locations is also in the works. Skvarla is also including buildings in pus myth—had its American premiere, at Melvyn Skvarla, campus historic preser- the database that are not presently old the University of Illinois at Urbana-Cham- vation officer and author of the grant, said enough to be eligible for the National Reg- paign. the primary contribution of the grant is the ister, like the Krannert Center for the Per- The semi-staged performance by the U. creation of a database on all campus forming Arts, and the Krannert Art of I.’s Sinfonia da Camera, directed and buildings. The Department of Planning and Museum. conducted by music professor Ian Hobson, Development will create and maintain the Money to complete later construction was given October 15, 2005, in the Kran- database. It will categorize and prioritize and restoration plans will be supplied by nert Center for the Performing Arts. buildings for restoration on campus, outlin- other organizations, Skvarla said. Appearing in the starring role was Stefan ing when restoration will begin on each. Ignat. The world-class baritone has per- s Information such as architectural style, year According to their Web site, www.getty.edu, o formed in opera houses throughout Europe n built, architect’s name, significant features Getty’s Campus Heritage Grant has awarded roughly $7 million to more than 50 colleges and Asia, and recently portrayed Oedipe o and the dates of additions are also being r and universities to preserve historic buildings, i documented, Skvarla said. sites and landscapes since 2002. t i e s 4 AMERICAN PREMIERE OF ENESCU OPERA TAKES PLACE AT ILLINOIS Melissa Mitchell, UIUC News Bureau, Arts Editor in a performance with the Bucharest is exiled from his homeland, unwittingly “But perhaps the reason why it is most National Opera at the George Enescu Fes- slays his father and ultimately consum- appropriate to do this here is because tival in Romania. mates a relationship with his mother—as a George Enescu had quite a history at the The cast for the U. of I. production also courageous figure who challenges the University of Illinois. He came to the cam- included alumni of the university’s opera cruel fate he has been dealt, rather than pus as a visiting artist and professor in program and members of the San Francis- as a powerless victim. 1948, 1949 and 1950, performing with co opera, with vocal accompaniment by “The subject considered seems to per- the orchestra and chamber ensemble, the U. of I. Chamber Singers, led by tain to us today more than ever,” Lupu orchestra and teaching master choral music professor and chair Fred said. “Besides the identity crisis, it has to classes.” From all reports, Lupu said, Stoltzfus. The performance was directed do with uprootedness, exile, the search for Enescu “energized the musical life of the by emeritus professor of voice Nicholas who we are and why we are here. These campus.” DiVirgilio. Choreographer and principal are eternal questions that are particularly Lupu has been conducting quite a bit of dancer was U. of I. dance professor Philip of interest in modern times when these energy from Enescu’s musical life-force him- T. Johnston. questions become more pertinent in order self, particularly this year. During the past Orchestrating the historic event was the to maintain our humanity while we face an few months, Lupu has traveled to China, music school’s own resident Romanian- ever adverse world around us.” , Finland, Poland and Romania to born musician and Enescu authority: facul- While Oedipe has been performed in present Enescu’s music in concert. He per- ty violinist and long-time Sinfonia da opera houses throughout Europe since its formed in October in , and on Camera concertmaster Sherban Lupu. The debut, Lupu said he can only venture a December 4 in City’s Merkin performance was the centerpiece of a larg- guess as to why it has never been staged Hall. Earlier this month, he released a CD er event: “Oedipus and Its Interpretations,” in the Hemisphere. “Lack of imag- of previously unknown works for violin by a two-day symposium, Oct. 15-16, ination and adventure?” he offered as a Enescu. Also released at the same time planned to attract classicists, musicologists possibility. were six volumes of unknown works by the and literary scholars from throughout the The reasons for producing the opera composer, edited and arranged by Lupu. world to the campus to examine and dis- now, at the U. of I., are easier to pin- While it may appear that Enescu and cuss a variety of topics related to Enescu point. “We found the right environment. It his work have functioned as something of and the Oedipus story. The public sympo- was like a constellation of events coming an international passport for the U. of I. sium included a concert by the U. of I.’s together to make it all happen at the right professor, he points out that the door Enescu Ensemble, conducted by Lupu, time,” Lupu said. Among those aligned “goes both ways.” “I’ve also been an October 16 in the Smith Hall. behind the project, he noted, was “my emissary … introducing the world to this Lupu said Enescu’s musical interpreta- friend, colleague and collaborator, Ian towering figure of 20th century music.” tion, created in collaboration with poet Hobson, with whom I’ve played Enescu’s Edmond Fleg and first produced in in works all over the world. I also found Visit the School of Music’s “Oedipe” Web site w at: www.music.uiuc.edu/sinfonia/oedipus/. 1936, recasts the tragic Greek mythical great support from the College of Fine i character in a more becoming light than and Applied Arts and Dean Kathleen n most other versions. In their interpretation, Conlin, the Center for Advanced Study, t e Enescu and Fleg portrayed Oedipe—who Illinois Arts Council and the Romanian r Cultural Institute. 2 0 0 6 5 Campus News

Excellence in . She Charles Leonhard Legacy Conference acknowledged individual donors and mem- Remembers a Great Educator bers of the committee—who collectively have committed nearly $70,000 towards a Herschel V. Beazley, Class of ’78 new fellowship in Dr. Leonhard’s name— Professor of Music and Governor’s Teaching Fellow, Georgia Southwestern State University and outlined the benchmarks needed to Former students, families and friends trav- The conference began Friday, November receive matching funds from the University eled from every region of the country to the 4 with a reception hosted by Drs. Peter of Illinois Foundation. University of Illinois, Urbana-Champaign, Tiboris and Joe Grant. Rick Murphy, Direc- A conference devoted to the legacy of for the Charles Leonhard Legacy Confer- tor of Music at University High School, per- Charles Leonhard would not be complete ence November 4-5, 2005. The fast-paced formed on the piano in the Levis Faculty without a lively sing-along. After luncheon traffic of the Tri-State Tollway eased as I Center Music Room. The event allowed in Levis Faculty Center, attendees joined in merged onto Interstate 57 South to Kanka- attendees to reacquaint and catch up on kee. The urban congestion turned to the flat news in their personal and professional lives. prairie of the Midwest as the interstate The Saturday morning session in Smith snaked toward Champaign. Driving past the Memorial Hall Room 25 was moderated by empty corn fields I reflected on Dr. Leon- Professor Joe Grant, chair of the music edu- hard’s story of boarding cation division. He introduced Dr. the Twentieth Century Karl Kramer, Director of the School Limited in New York of Music, who provided an update on City’s Grand Central Sta- new faculty appointments in string tion for the journey west- education and expanded degree pro- ward to establish the grams in jazz studies. Barbara Burley (’75), John Burley (’79), and Sharon Nix (’78), Ed.D program in Music Dr. Kramer was followed by Dr. with author Herschel Beazley (’78). Education at the Unversi- Eve Harwood, Associate Dean, who ty of Illinois. recalled experiences as a student of singing: The Doxology (the second time with Dr. Richard Colwell (’61) of a “belly breath”), Make New Friends, Dona Earlier as a student gives the keynote address. Charles Leonhard’s and brought greet- and then faculty member ings on behalf of the College of Fine Nobis Pacem, Just A Song At Twilight, Amer- at Teachers College (capital “T”, capital Arts. Joe Grant then ica, and Hail To The Orange. Music educa- “C”) Dr. Leonhard immersed himself in the introduced Dr. Peter tion major and pianist Sarah Petersen cosmopolitan life of New York City and Tiboris, Chair of the provided accompaniment. “picked the brains” Leonhard Legacy The afternoon session was devoted to of great minds such Committee, who pro- papers delivered by Professor Roger Rideout Harry Steckman (’79), with (University of Massachusetts) and Professor as James Mursell, vided a summary of James Johnson (’69) and Howard Murphy, the committee’s work Aldona Naudzius (’83). Lizabeth Wing (Uni- Lilla Belle Pitts, to date and possible scenarios for the future. versity of Cincinnati). and Norval Church Peter concluded by recounting a very mean- Liz presented “Pay It to name a few. The ingful professional and personal experience Forward” in a “readers’ Peter Tiboris (’80), Chair of the theater” format that Leonhard Legacy Committee, with philosophy of John with Leonard Bernstein—learning of the David Osterlund (’78). Dewey and the Maestro’s knowledge of and respect for allowed participation Dalvin Boone (’72) catches community sing-along tradition of Peter Charles Leonhard. from a large number up with Joseph Goble (’78). Dykema were embedded in Dr. Leonhard The morning of audience members. Roger’s presentation, and he brought these egalitarian traditions session ended with “Travels with Charlie,” included an insight- when he returned to his Midwestern . a report by Marlah ful commentary on Leonhard’s use of humor As Roger Rideout suggested in his confer- Bonner-McDuffie, along with several interesting perspectives on ence paper, the establishment of the Ed.D in Associate Director his life and legacy. The afternoon session Music Education at the University of Illinois of Development adjourned for informal “picture moments” was one of the lasting accomplishments of for the School of and campus walks. s o Charles Leonhard and perhaps his most sig- Music, on contri- Later that evening, everyone reassembled n at Kennedy’s Restaurant in Urbana for cock- o nificant contribution to the scholarship of butions to the r Suzanne Hassler, Coordinator of tails and dinner. It was pointed out that teaching in general and music education in Alumni Relations, and Joe Grant Charles Leonhard i (’83), Chair of Music Education. exactly five years ago on this date graduates t particular. Endowed Fund for i e s 6 gathered at the same location for Charlie’s 85th birthday event. After a delicious buffet dinner prepared by chef Luke Kennedy, Dr. Peter Tiboris introduced Dr. Richard Col- well, a long-time professor of music educa- tion at the University of Illinois and student Society for Ethnomusicology of Charlie Leonhard’s, who spoke on “Langer, Leonhard and Augury,” delivered Celebrates First Fifty Years in his signature “rapid-fire” and “shoot from As ethnomusicology has been an important field at UIUC for over 45 years, the hip” style. the annual meetings of the Society for Ethnomusicology (SEM) in Atlanta, On a personal note, Peter and I visited Nov. 16-20, 2005, which celebrated the fiftieth anniversary of the Society’s Dr. Robert Thomas, Emeritus Professor of founding, are of special interest to many UIUC alumni (as well as present Music. Many of you will be happy to know faculty and students). he continues to reside in his condo in This most extensive ethnomusicology conference ever held had 440 sepa- Urbana surrounded by beautiful collectables rate presenters and session chairs, and ca. 140 sessions on music in all and art works meaningful to his life. He no parts of the world, ranging from the origins of music to the role of the Inter- longer travels, but is net in musical life. The program committee was chaired by UIUC emeritus extremely interested professor Bruno Nettl (one of the founders of the Society) and Judith McCul- in and supportive of loh, Assistant Director of the University of Illinois Press. Other faculty partici- pants were Donna Buchanan, Charles Capwell, Gabriel Solis, Isabel Wong; the Legacy Commit- visiting professors Anna Schultz and Svanibor Pettan; and graduate students tee. Dr. Thomas is, Jennifer Fraser and David McDonald. as ever, the Renais- Of the ethnomusicologists who read papers or chaired sessions, twenty-six Linda Gerber (’75) and Robert Wessler (’76) reminisce. sance Man. were UIUC alumni. Of these, Philip V. Bohlman (Ph.D. ‘83), professor at the Conference atten- University of , is the incoming president of the Society. Alumni dees were pleased with the weekend of Anthony Rauche, Christopher Waterman, and Carol Babiracki, with Bruno remembrance and celebration of the life and Nettl, also participated in an evening of “fun stuff” including poetry read- legacy of Professor Charles Leonhard and ings, a short opera, and a calypso satirizing the history of ethnomusicology. plan to meet again in 2007.

For additional information on how to become involved, together with a complete listing of Commemoration Weekend activities, visit: www.charlesleonhardlegacy.com

The Charles Leonhard Endowed Fund for Excellence in Music Education has received $22,150 in contributions to date, and pledges totaling $69,720. The commit- tee’s initial goal is to reach $150,000 to endow a graduate fellowship and receive matching funds from the University of Illinois Foundation. Their long-term goal is $250,000. The University of Illinois Music Education Division is delighted by the alumni’s decision to commemorate Dr. Leonhard’s life and work through support of an endow- ment in his name. To contribute, contact Marlah Bonner- McDuffie, Associate Director for Development, 217.244.4119. Or, send your contribution, made payable to the UIF/Dr. Leonhard Legacy Endowment Fund, to: Development Office University of Illinois School of Music, 3068MB Top: The SEM-Illinois Alumni Reception brings togeth- 1114 W. Nevada Street er UIUC alums and presenters. w Urbana, IL 61801 i Middle: Karl Kramer and Bruno Nettl with Philip The University of Illinois and School of Music thank you! Bohlman, UIUC alum, Professor of Ethnomusicology n at the , and incoming president t of SEM. e r Bottom: Karl Kramer, Director of the UIUC School of Music with program co-chairs Bruno Nettl and Judith 2 McCulloh at the 50th anniversary meeting in Atlanta. 0 0 6 7 Cover Story

JOHN WALTER HILL’S BAROQUEBAROQUE A MATCH OF SEVENTEENTH AND TWENTY-FIRST MUSICMUSIC CENTURIES By Anne Mischakoff Heiles

When a sales representative from W. W. Norton Compa- ny approached Professor of Musicology John Walter Hill about the company’s latest offerings, his sales pitch was accompanied, as is standard, by a question: was he working on anything that their acquisition editor should consider publishing? Hill brushed it off as the usual compliment extended as a technique to promote the publisher’s text- books. But the representative persisted, telling him the company was seeking a scholar to write the remaining book, Baroque Music, in its Introduction to Music History series. Hill countered by recommending several colleagues s o as potential authors. At home that evening he described the n o r conversation to his wife, Laura. “She said, ‘But you would i t i want to write that book, wouldn’t you?’ And I said, ‘Well, e s 8 w i n t e r 2 0 0 6 9 Cover Story

“THE WHOLE THEORY OF ROOTS AND INVERSIONS WAS IN PLACE MORE THAN A HUNDRED YEARS EARLIER IN THE WORKS OF HARNISCH AND JOHANNES LIPPIUS...”

yes, I guess I would.’ So the next day I emailed Michael Ochs, the To organize the table of contents, Hill relied on his long teach- music editor at Norton who had previously been music librarian at ing career: “My starting point was the organization of the course on Harvard, and asked if he would be open to a proposal from me.” the subject that I’ve taught annually for the last thirty-five years. Some five years later, Hill’s office is littered with boxes of the That organization has been tested; it evolved over the years.” Still, textbook he authored and its supplementary Anthology of Baroque when he drafted his manuscript, he made additional changes, “part- Music, and with the music equipment he used to help create dozens ly ordering the topics to minimize references to future discussions. of listening examples that bring the anthology to life. Probably the For instance, the discussion of early seventeenth-century Italian magnum opus of his distinguished career as a music scholar and church music should follow the discussion of theater and vocal teacher (or at least the work most likely to make his chamber music because the novelties and innovations name widely known), Baroque Music was published in it are based on theater and chamber music. If you in 2005 and caps a career that has produced The Life had it the other way around, you’d be constantly say- and Works of Francesco Maria Veracini, Vivaldi’s ing, ‘As we will see in the following chapter….’ I envi- Ottone in Villa: A Study in Musical Drama, and a fair- sioned the textbook as serving a semester course. I ly recent two-volume set titled Roman Monody, Can- used it for one semester last year, so in fact it can be tata, and Opera from the Circles around Cardinal done. The students have to read about fifteen pages of Montalto. the book in preparation for each class section. That’s Hill has been editor of the Journal of the American relatively painless; it’s basically an hour of reading Musicological Society and has served on several inter- three times a week.” national boards and committees. He has also written There were holes to fill in his own knowledge, Hill extensively for the New Grove Dictionary of Music admits, because any teacher is selective in a particular and Musicians and for Die Musik in Geschichte und Gegenwart. course. “And as I wrote, I sent the chapters to specialists in those Nevertheless, the editorial staff at Norton put him through stiff particular fields. I got extremely good feedback. When it was com- paces before formalizing an invitation to write the Baroque history pleted, it was sent to six more referees. Norton wanted to be certain destined to succeed Manfred Bukofzer’s benchmark survey that had that the book was going to be widely considered a standard and served two generations. Michael Ochs, Hill surmises, “worked some definitive account, rather than idiosyncratic writing.” phones to see if I was the right sort of person. He asked for a two- Not one to mince words, however, Hill acknowledges that his page general prospectus about the approach, a complete table of approach “isn’t a neutral or default account by any means.” He contents, and two subchapters of about five printed pages broke new ground in several ways. For example, by adding the each.” Then Norton’s editor formulated a list results of research from many scholars since the publication of of questions about both Hill Bukofzer’s Music of the Baroque Era in 1947, he expanded dis- and the proposal, sending them cussions of French, Spanish, and Portuguese music, as well as along with copies of his materi- the contributions made by women. He developed the music’s als to about five or six referees. “Basically a publisher wants to know if the person has a reputation such that the work would interest professors. After all, you don’t adopt a course textbook by someone you know is not your equal. So, on that basis, they prepared a contract.” s o Baroque Music and its accompanying anthology, n published in 2005 by W. W. Norton & Co., draw o from author Hill’s 35-year teaching experience on r the subject, as well as extensive research. i t i e s 10 “THE FOUNDERS OF MUSICOLOGY, GERMAN MEN, WERE NATIONALISTIC, MALE CHAUVINIST, AND RACIST TO A GREAT EXTENT. WRITING THIS BOOK WAS A GOOD OPPORTUNITY TO RECTIFY THAT AS MUCH AS I COULD.”

cultural, political, and religious contexts to a greater extent than had Hill’s new text delves into other aspects discussed by theorists of earlier texts. “That would more or less be expected in the year 2005 the Baroque period to explain music, including formal rhetoric and from a book of this kind,” he says. “But what is particularly differ- rhythmopoeia, the “analysis of music using poetic scansion concepts ent is the emphasis on period theory and thought that I’ve used as and markings, starting with Marin Mersenne. Mode and rhetoric the basis for approaching music. Most of my specialist colleagues in are two continuous strands in [Baroque Music], although some this period use a modern approach, which tends to be retrospective established scholars may have trouble digesting them.” in treating many features of seventeenth-century music as mere In expanding the discussion of Spanish and Portuguese music, foreshadowing of eighteenth-century music.” compared with Bukofzer’s Baroque history, Hill was driven by the Referring to nearly sixty Baroque-era theorists for his analyses, awareness made possible by burgeoning research in recent decades. Hill says the list begins with “the writers from around Florence, “The subject warrants it. There was very little usable research and Italy, having to do with the birth of opera: Vincenzo Galilei, Giulio writing by earlier Spanish scholars. Musicology, and many other Caccini, Jacopo Peri, Giovanni Battista Doni—and that list goes branches of modern humanities research, emerged from Germany, on. Then come the many writers on mode, then from France and later from Italy. with Adriano Banchieri setting the tone Spain had mostly become somewhat isolat- among them.” Rameau’s importance in the ed from the rest of Europe culturally, history of theory has been greatly exagger- socially, and intellectually. I am glad that ated, in Hill’s judgment. “The whole theo- there is more to say about Spain, just as I ry of roots and inversions was in place more am that there is a great deal more to say than a hundred years earlier in the works of about women: today we understand better Harnisch and Johannes Lippius (the better that our culture, society, and history were known of the two because his account was not carried out solely by northern Euro- more thorough).” pean men. The founders of musicology, Rather than discuss the “modern con- German men, were nationalistic, male cept of tonality,” Hill says he focuses on chauvinist, and racist to a great extent. what he calls “the normalized harmonic Writing this book was a good opportunity style of Corelli from the standpoint of the to rectify that as much as I could.” theory of one of his students, Francesco Hill credits the British and American Gasparini, who (like another student of scholars of his generation and especially Corelli, Francesco Geminiani) presents, discusses, and teaches the the younger generation with having the distance—as well as the harmonic style of that period as a series of modules. These are nor- familiarity with enough languages—to avoid writing from a nation- malized units of two, three, four, and five chords.” Referring as an alist slant. “Already when I was in graduate school in the , we example to the music of Giovanni Maria Bononcini (1642-1678), of student age thought our generation had an historical mission to Hill says, “The previous two parallel and distinct strands of com- rectify this German slant on the history of music. It was a blinkered positional thought in the Western world—chords and mode— view of the rest of Europe, which, of course, robbed it of its validi- merged together. It’s a merging of structure with modal and chordal ty and strength. It wasn’t sufficiently disinterested to be reliable.” language that creates the language of the Corelli generation. An anthology of music, 130 pieces totaling more than a thou- “Chordal composition seems to arrive in Western Europe with sand pages, accompanies the textbook, with another 46 musical the fretted instruments of the lute-guitar family from Spain, where examples available for downloading in PDF files from the Internet. they were established by Arabic musicians. So the chordal tradition Hill edited all the examples, his approach a mix of Urtext and read- seems traceable back to Arabic traditions, whereas mode traces back ability: “My goal was to preserve the original rhythmic values and w through Christian and Jewish traditions. In a sense, these two great meter signs, and the key signatures: that is, not to add anything or i pillars of Mediterranean civilization come together at the end of the take away anything from the original body of notes. Other than n Baroque era, in what today is loosely called tonality but what I call that, I wanted to use modern clefs, rather than C clefs, and to place t e the normalized harmonic style of the late Baroque.” a running translation in italics above the vocal text for languages r other than English,” he explains of his decision not to simply rely 2 0 0 6 11 Cover Story

“MY GOAL WAS TO PRESERVE THE ORIGINAL RHYTHMIC VALUES AND METER SIGNS, AND THE KEY SIGNATURES: THAT IS, NOT TO ADD ANYTHING OR TAKE AWAY ANYTHING FROM THE ORIGINAL BODY OF NOTES....”

on a text and translation in poetic form following the score. “With four invitations annually to give papers at conferences in Europe. the running translation, students don’t have to page back and forth They’re very attractive: free trips to Europe, and being put up in a between the text and music.” nice hotel and given elaborate meals, a tradition among European Editing the anthology, however, consumed far more hours even scholars.” than writing the textbook. All the scores were created anew, based Compounding his busy schedule, however, the invitations have on the original manuscript and printed sources. Hill devoted addi- come with specified topics: “They’re not on subjects where I have tional hours to persuading Norton to include listening examples. ongoing research, so they have been demanding of time: identifying Using commercial recordings was too costly for a period history my project, collecting material, coming up with a thesis, and writ- book because they required copyright payments, and using only ing. They’ve all been in European languages. Just yesterday I woke students to perform the examples risked an amateurish result or up at 4 a.m. in Rome and had a whole day of travel, and here I am alienating some buyers who might think the performance outlook at school in Urbana today. In Rome I talked about a couple of dif- would “reflect a single phi- ferent perspectives on the losophy of performance vocal works of Luca Maren- practice.” It took a kind of zio, a sixteenth-century modern-day deus ex machina madrigalist, from the per- to resolve the problem. spective of solo singing; I To procure the necessary talked about his imitation of bandwidth and server space something called cantare for modern-day students to alla bastarda, and the reflec- download examples, Hill tion of the idiom of the went to the University’s Spanish guitar accompani- CITES (Campus Information Technologies and Educational Ser- ment. There’s another conference in December, so today [in Sep- vices). He also learned to convert files to MP3 format. Moreover, he tember] I have to start preparing for that event in Venice, Verona, figured out how to create his own brand of synthesizer sounds, and Mantua. I’ll speak about the longstanding convention and tra- “using a MIDI instrument file based on live sound samples that I dition of the love complaint in the Orpheus in the seven- played, by recording on a Baroque violin, viola, and cello notes teenth-century and my interpretation—fairly contemporary in that about half an octave apart from the lowest to highest notes you’re I’m going to sound quite a bit like a feminist—of its social and cul- likely to hear, and trimmed those down, making those samples the tural meaning.” The Baroque meets the twenty-first century. basis of MIDI instruments. It didn’t turn out to sound as realistic as I thought it would, but it did soak up quite a lot of time, to find the right software to execute it ( Sound Fonts); I’ve since learned that there are other more sophisticated programs that do the “More than just a textbook, John Walter Hill’s same thing that are somewhat costly.” Hill has a longstanding inter- Baroque Music is a detailed scholarly investigation est in performance practices (and devotes a number of sidebars and of the era, beautifully illustrated and produced by boxes in the textbook to them). He combined his painstaking W. W. Norton & Company. The companion efforts at the string instruments, keyboard, and mouse with record- ings of performances by School of Music students. Anthology of Baroque Music opens new perspectives In the end, Hill’s work has garnered glowing reviews. Barbara by supplying carefully edited scores of many works Hanning (City College of New York) wrote that “Baroque Music is not otherwise available, and it is augmented by a astonishingly thorough and brilliantly insightful….” And Bruce Gustafson (Franklin & Marshall College) has called it a “monu- Web-based supplement, broadening our awareness s o mental achievement…destined to become a classic.” One might of music of this fascinating period.” n expect Hill to feel let down after devoting five years intensively to o r its creation. He says he has not had time for a letdown or “decom- Professor William Kinderman i pression period” because of being “thrown into a period of three or UIUC School of Music t i e s 12 Now Registering for Admissions Activities Illinois Summer Youth Music 2006

Joyce Griggs, assistant director for enrollment management and public engagement

“The School of Music you—our alumni and our supporters—that Elective Courses is rockin’ ” exclaimed they were directed to consider the Univer- • Chamber Music Dr. Kathleen Conlin, sity of Illinois. Dean of the College I am well aware that with the fierce • Composition/Theory of Fine and Applied competition between great schools and • Conducting Arts, to attendees of great programs, and the increasing need • Group Piano Lessons the School of Music for scholarships and financial aid, students • Music Technology Open House on Sep- have many choices and reasons for deter- tember 27. How true! With increased mining which school they attend—whether enrollment, visibility, and faculty involve- for a summer music experience or for First Session ment in outreach and recruiting events, the majoring in music. In the age of the inter- June 18-24 School of Music has an incredible energy net, the vast opportunities for students A comprehensive and intensive Senior Bands that is becoming contagious! become blurred. Which school is really so program of music instruction Senior Chorus The School of Music has enrolled one unique that a student can’t possibly miss held on the campus of the Uni- Senior Orchestra of the largest freshman classes in recent the chance of attending? How do students versity of Illinois at Urbana- Advanced Piano years with 100 new, first year students. In take the wealth of knowledge available to Champaign. For the past 57 Advanced Junior Flute addition to meeting our enrollment goal at them and decipher it with a scrutinizing years, Illinois Summer Youth the undergraduate level, overall graduate eye, in order to better separate substance Music has enrolled more than a enrollment has also increased by almost from the rhetoric? It is through communica- thousand students annually. 15% this year. tions with our faculty and our alumni that Second Session Many past campers perform As you may recall from last year’s edi- students gain understanding of their poten- June 25-July 1 tion of sonorities, Music Admissions and tial for success at the University of Illinois with major symphony orchestras Junior Bands Outreach & Public Engagement were fused School of Music. and other professional ensem- Junior Orchestra and into one office with one mission: to bring I invite you to contact my office to dis- bles. A significant number are Junior Strings quality educational programs to students cuss the many possibilities for working successful teachers, engineers, Advanced Senior Flute and teachers while creating, fostering, and together to bring relevant and meaningful scientists, lawyers, doctors, and Piano maintaining relationships with prospective enrollment information to students. Whether business executives. Double Reed students. The synergy created by combin- you prefer a chamber ensemble concert, a ing these two offices gives the School of presentation by a staff member, or a visit to www.music.uiuc.edu Third Session Music faculty and staff an opportunity to campus, we can assist with arranging these click on the “ISYM” link July 9-15 see prospective students on multiple occa- appointments and ensuring that all students 217-244-3404 sions. Whether attending one of our Aller- interested in learning more about the Uni- E-mail: [email protected] Junior Bands ton Chamber Symposia, Superstate, or versity are reached. Now accepting major credit cards. Trombone Open House, students are beginning to I would be remiss if I did not conclude Get an application online! Junior Chorus see the same familiar faces that make the this article with thanking the many hard- Junior Piano School of Music a small, personable com- working colleagues who make up our Jazz munity of excellence. newly restructured office of Enrollment Man- Advanced Percussion Once again this fall the School partici- agement and Public Engagement. To David pated in performing and visual arts fairs— Allen, Lynwood Jones, Nancy Boaz, Ruth bringing information about musical Stoltzfus, Sandy Horn, Cathy Egan, our stu- opportunities to hundreds of students. As I dent workers, and most importantly faculty complete the last airplane ride of my col- and other supporting staff—thank you for lege fair travel for 2005 and reminiscence making 2004–05 such a great year for our on the students and parents I met in my outreach and admissions programs. I look w travel to various cities, I am reminded of forward to strengthening our relationships i the power of influence. Many students with and making each year a success! n whom I spoke cited that it is because of t e r 2 0 0 6 13 Development Update

Marlah Bonne-McDuffie, associate director for development WISH

The importance of private gifts to the School of Music increases every year. The state of Illinois provides basic Creating a Lasting Partnership for Our Future operating revenue for the University of Illinois; however, support from the Since my appointment you will note that the most urgent need for state accounts for less than 18 per- to Associate Director the School of Music continues to be secur- cent of the total budget.Thus gifts of Development in ing endowed chairs and professorships, from alumni and friends help to pro- October 2004, I have which assist us greatly by attracting the vide the margin of excellence which had the privilege of most talented faculty and providing them distinguishes the UI School of Music. meeting with over with the resources to excel in their scholar- We look forward to a very bright 150 alumni and ly endeavors, and to provide the best friends of the School resources to our students. Moreover, future for the School of Music, and of Music from across endowments provide permanent financial we continue to evaluate new oppor- the country. Making a personal connection support and enable you, the donor, to tunities and programs that will help with alums continues to be an exhilarating become a perpetual partner in the success to ensure our position as one of the and rewarding experience for me. Alumni and future of the School of Music. In light leading music schools in America have shared their many wonderful experi- of declining financial support from the today. In order for us to reach our ences of how the School of Music has had state of Illinois, the establishment of goals and to provide the best educa- a transformative impact on their personal endowed chairs and professorships is tion possible for our students, we and professional development. Moreover, I increasingly critical to the success of the must have the resources in place. have been humbled and inspired by our University of Illinois and to the School of The following items represent the alumni and friends’ willingness to become Music. a part of the future of the School through Our School has benefited greatly from current needs and wishes of the their generous gifts of financial support. alumni and friends who have made the School of Music in order of impact: This is truly an exciting time for the Uni- decision to provide financial support versity of Illinois and for the School of through planned or deferred giving • Chairs and Professorships: endowed Music, and I am thrilled to have joined the arrangements, which range from bequests chairs and professorships serve as School during this period of tremendous to several life income instruments that can effective tools with which to recruit growth and opportunity. Under the leader- provide you or a designated beneficiary and retain scholars and performers. ship of Dr. Karl Kramer, now in his fourth with income for life and the School of Renowned faculty attract the most year as director, the School of Music has Music with an outright gift of the remain- talented students and the brightest accomplished many worthy goals in which ing balance, or an endowment to support minds to study at the University of our alumni can take much pride. In our the School in perpetuity. continued quest for unparalleled excellence I am committed to assisting our donors Illinois. As artists and scholars, they in professional music training, we have in finding the most personally gratifying as contribute to the world of research, attracted world renowned musicians, schol- well as financially advantageous method creativity, and virtuosity that is one of ars, and artist-teachers to our faculty from to meet their philanthropic objectives. I the University’s principal missions. around the globe. Our enrollment has invite you to become a long-term partner This is vital to the continued success experienced significant growth in recent in our future success by considering an out- of the School of Music. years, and we continue to attract many of right or deferred gift to the School of the best students from all over the world. Music. We encourage you to reconnect • Fellowships: the continued excel- Our challenge remains to provide our stu- with the School by visiting our website, lence of the School of Music depends dents and faculty with the resources that http://www.music.uiuc.edu, joining us for in part on attracting the most talent- will allow them to succeed in their aca- a performance, or contacting us directly demic and professional careers. with an update on what you’ve been up to ed graduate students from across the There are several opportunities for since earning your degree. nation and around the world. For us to remain competitive among the s alumni and friends to make an immediate o impact in the future of the School. As you leading schools in the country, we n o take a look at our “wish list” (page 15), must be prepared to assist the excep- r tional students we serve. i t i e s 14 New Gifts

LIST The School of Music is pleased to announce the establishment of several new endowments between September 2004 and October 2005. • Advocates for Young Artists: twenty- five outstanding undergraduate stu- dents have participated in the AYA program since its inception in 1999. Louise Taylor Spence Scholar- fund will provide an annual award to a deserving upper division music educa- Donors make a four-year commit- ship Fund for Undergraduate Performance Majors tion student in the UIUC School of Music ment to support one student during who demonstrates an unusual enthusiasm A $300, 000 bequest was received in his/her tenure and are invited to vari- for sharing their love of music with future October 2005 from the estate of Louise ous events featuring AYA scholarship students. recipients. Taylor Spence, a resident of Los Alamos, New Mexico, for the benefit of new schol- arships. Funds from the endowment will be • Valencia F. Huson and R. Jane Building Infrastructure and Equip- used to provide tuition and fees for worthy Scott Band and Music Audiovi- ment: maintaining the facilities and and promising undergraduate students sual Preservation Endowment equipment for our faculty and stu- enrolled in the UIUC School of Music, as dents takes considerable resources, determined through a competition judged A new endowment, established by Peggy and to be competitive with our peer by the music faculty. Billing and Christopher Huson of Urbana, institutions, we must continue to Mrs. Spence, a 1936 graduate of the Illinois, in honor of their mothers Valencia have outstanding practice facilities University of Illinois, played the organ and F. Huson and R. Jane Scott, was and performing venues.There are had many positive memories of UI, where announced at the Band Alumni Reunion banquet held at the Illini Union on Febru- numerous opportunities, ranging she majored in music. Her husband, Dr. Roderick W. Spence, also attended the ary 19, 2005. This new fund will benefit from studio recording equipment to University of Illinois, receiving his Ph.D. in the Sousa Archive and Center for Ameri- renovating Smith Memorial Hall. chemistry in 1939. He was a group leader can Music (SACAM). at Los Alamos Lab most of his career and a Peggy S. Billing is a 1982 graduate of • Opera Sponsorship: the School of Manhattan Project veteran. Both enjoyed the University of Illinois and has been a Music produces two full-length music and remembered attending wonder- member of the Champaign Brass as a operas each year.An opera produc- ful recitals in Smith Music Hall. The Louise player since 1995. Peggy began tion takes considerable time, effort Taylor Spence Scholarship fund is dedicat- studying music education, studied trumpet and money. Current productions can ed to benefiting students majoring in the with Professor Ray Sasaki, and performed cost in excess of $60,000.While tick- performing arts in applied music. with several U of I bands including the famed Marching Illini while a student, and et sales cover about half the cost of eventually received her Bachelor of Sci- each production, additional support G. Jean Sutter Music ence degree in finance. She is especially will assure both student performers Education Endowment Fund interested in preservation of Band and and audience members of operatic Music sound and audio visual recordings, This scholarship for the experiences comparable to produc- preserving the Marching Band audio visu- Music Education division tions found in major cities, while al archives, as well as helping raise was funded by Mr. Craig money for the University Bands. keeping ticket prices reasonable. B. Sutter of Urbana, Illi- Chris Huson received his master’s nois in honor of his moth- degree in Computer Science from UIUC in We hope you will consider making a er G. Jean Sutter. 1983, and is a Senior Research Program- major gift to the School of Music. If Mr. Sutter received his mer. His employer, Intel Americas, Inc., you are interested in funding projects master’s degree in Education in 1978 and has generously contributed matching funds such as these or would like to a Bachelor of Science degree in Aeronauti- to the new Huson-Scott Endowment. cal and Astronautical Engineering in explore other opportunities, please Both extremely loyal alums, Chris and 1971. Because of his commitment to the contact Marlah Bonner-McDuffie, Peggy feel the education they received has future of education, his association with the associate director of development, at a tremendous impact on their careers and w faculty, students and staff at 217-244-4119. wished to express their “Illinois Loyalty” i The University of Illinois, n through this joint gift for the benefit of the and his wish to honor his t Sousa Archives to help with preserving the mother’s love of music, he e audio visual materials in the Archives. established the G. Jean Sut- r ter Music Education Fund. 2 Once fully endowed, the 0 0 6 15 New Appointments

Christina Bashford, Louis Bergonzi, Musical Independence (Kjos, 2003); co- Assistant Professor of Associate Professor of author, Teaching Music Through Perform- Strings/Musicology, Music Education/ ance in Orchestra, Vols. 1 and 2 (GIA, received her Certificate Strings and Conductor 2001, 2003); co-author, Americans’ Musi- in Teaching in Higher of the UI Philharmonia cal Preferences (National Endowment for Education from Oxford Orchestra, received his the Arts, 2001); and Effects of Art Educa- Brookes University, her Diploma from the tion on Participation in the Arts (National B.A. from University of Kodály Musical Train- Endowment for the Arts, 1996). He has Oxford, and both the M.M. and Ph.D. ing Institute, Hartford, CT and later pur- had articles published in American String from King’s College, University of . sued undergraduate studies in music Teacher, Journal of Research in Music Edu- Christina’s main research interests are in education, Susquehanna University. He cation, Bulletin of the National School performance history and the social and received his B.M. (cum laude) from Boston Orchestra Association, and Bulletin of the economic history of music. Her principal University, and both the M.M. and Ph.D. in International Kodály Society. Among his focus to date has been on musical culture Music Education (with cognates in Orches- many affiliations are president, American in nineteenth and early twentieth century tral Conducting and Educational Founda- String Teachers Association (1998-2000) Britain, particularly London, and this has tions and Policy Administration) from The and national chair for its Urban Outreach resulted in a range of work on chamber University of Michigan. Prior to his Program (1993-1996); Music Educators music, concert institutions, audiences, pro- appointment at UIUC, he was on the facul- National Conference; New York State gram notes and listening practices. She ty of the Eastman School of Music for 16 School Music Association; Society for has published articles and reviews in years, and earlier he held positions in vari- Research in Music Education; and the Music & Letters (winner, Jack Westrup ous public school systems in Massachu- National Editorial Board of the Journal of Prize, 1991), Journal of the Royal Musical setts. A frequent presenter at regional, String Research. Association, Journal of Victorian Culture, state, national, and international teachers’ and Musical Quarterly, and has con- conferences, Bergonzi’s areas of expertise Philipp Blume, Visiting Lecturer in Com- tributed to several volumes of essays, include orchestra rehearsal technique, con- position-Theory, received his Artists Diplo- including The Cambridge Companion to ducting, and string teaching, particularly in ma from the Freiburg Conservatory in the String Quartet (2003). She speaks reg- an urban setting. His extensive experience Germany, and did his graduate work at ularly at seminars and conferences, and in these areas include acting as director of the University of California at Berkeley has developed lecture-recital workshops in the Eastman Summer Music Academy for under Professor Cindy Cox. Philipp is a conjunction with chamber music groups. String Teachers (1995-1999); director of composer of experimental chamber music Co-editor (with Leanne Langley) of Music the Rochester-Eastman Urban String Project whose works have been featured in cities and British Culture, 1785-1914: Essays in (1997-2005); conductor of numerous all- throughout the world, including London, Honour of Cyril Ehrlich (Oxford University state honor orchestras; Melbourne, Aus- Paris, Berlin, San Francisco, Freiburg, Press, 2000), Professor Bashford is also a tralia Summer Youth Music (1999-2005); Stuttgart, Darmstadt, and the Banff Centre principal collaborator on the Concert Life Hong Kong Summer Youth Orchestras for the Arts. He was a student of Professor in 19th-century London Database, a (1997); and All-State Intermediate Orches- Mathias Spahlinger in Freiburg until 1999, research project founded in 1997 with col- tra at Interlochen (1985-1990). Bergonzi’s and during his doctoral studies at Berkeley, leagues at the University of Leeds and research involves secondary data analysis he was also recognized for outstanding Goldsmiths College, London. Currently she of large-scale, nationally representative work as an instructor. In 1999 Philipp was is completing a monograph entitled The data sets to consider issues in the sociolo- a participant at the Voix Nouvelles Festival Pursuit of High Culture: John Ella and gy of music education and arts education in Royaumont, France, and in 2003 he Chamber Music in Victorian England, for policy. His efforts have garnered several took part in the first Summer Workshop for which she received support from the Arts research grants and fellowships, including Young Composers hosted by Schloss Soli- and Humanities Research Board (UK) in Yamaha Music Education Research Project tude in Stuttgart. Philipp spent the first five 2003-04. Prior to coming to Urbana- (1995-present); National Endowment for months of 2000 at the Herrenhaus s Champaign, Professor Bashford was on the Arts (1993-95, 1997-present); and Edenkoben on a composition stipend o n the faculty of Oxford Brookes University in Bridging Fellowship in Public Policy Analy- under the mentorship of Peter Eötvös. Most o England; before that she served as the sis, University of Rochester (1995). recently, Philipp’s quartet ex cusa was pre- r Managing Editor of the New Grove Dictio- Bergonzi is author of several books: miered at the Akademie der Künste in i t nary of Opera. Rounds and Canons for Strings: Shaping Berlin, where he received the 2005 Ferruc- i e s 16 cio Busoni promotional prize in Composi- Electroacoustiques de Bourges 2004: ters Music Publications; he has made solo tion. He is currently at work on an ambi- Degré I-RESIDENCE; Spectrum Press and and chamber recordings for the Enhar- tious cycle of pieces entitled Rausch des the Los Angeles Sonic Odyssey’ Music monic, Zephyr, Lyras and Klavier labels, Vergessens, inspired in part by the philoso- Beyond Performance: SoundImageSound and was recently featured as performer, phy of Nicolaus Cusanus, the writings of III; Electronic Music Midwest 2005; SEA- arranger and composer on Klavier’s Gertrude Stein, and the musical specula- MUS 2005; 32nd International Competi- recent release of Obsecion. tions of Mathias Spahlinger. The cycle will tion of Electroacoustic Music and Sonic be comprised of eight pieces of varying Art/Bourges 2005; and NODUS concert Cathy Egan, Accountant II, joined the instrumentation, and eight epilogues for 2005. As a researcher she has worked in staff of the School of Music business office solo piano. the CAVE (Cave Automatic Virtual Environ- in August 2005, having worked previously ment) at UIUC as part of the Virtual Music for three years on the UIUC campus in the Kyong Mee Choi, Project where she developed a real-time Department of Civil Engineering. Cathy Visiting Lecturer in audio synthesis patch in Max/MSP to provides administrative support for Dr. Composition-Theory, respond to user/performer gestures. Her David Atwater, Assistant Director for Oper- received her B.S. dissertation topic is the study of spatial ations. She and her husband Ken Egan, (Chemistry and Sci- relationships in painting and electro- manager of the scene shop in the Krannert ence Education) from acoustic music. Center for the Performing Arts, came to the the Ewha Women’s University of Illinois in 1986 from University in Seoul, Emilio Colón, Associate Professor of Rochester, New York. Korea. She completed the Master Course Cello, received his B.M. from the Puerto in Literature at Seoul National University, Rico Conservatory of Music, and his Dawn Harris, Visit- and received her M.M. (Music Composi- M.M. at Indiana University, where he also ing Lecturer in Voice tion) from Georgia State University and pursued doctoral studies as a student of (soprano), began her D.M.A. in Composition from the University Janos Starker. Emilio taught for the UIUC vocal studies at Ober- of Illinois at Urbana-Champaign. She is a School of Music as a visiting faculty mem- lin Conservatory of student of Agostino Di Scipio, William ber in Spring 2004. Prior to his current Music, then continued Brooks, Guy Garnett, Erik Lund, Robert appointment at UIUC, he was Associate at Kent State Universi- Thompson, and Scott Wyatt. A composer Professor of Cello at Indiana University, ty, where she received and visual artist, Kyong Mee writes mainly Bloomington, where he taught cello, con- both her B.M. and M.M. in vocal perform- chamber, electro-acoustic, interactive, and ducted the Indiana Cello Ensemble in ance. Further doctoral level studies in multi-media music. Her compositions also annual presentations, and served as Exec- vocal performance and opera were com- incorporate algorithmic compositional utive Vice President of the Eva Janzer pleted at Louisiana State University. Her devices, geometric charts, visual art, and Memorial Cello Center. He was honored major teachers and coaches include James analogues of musical elements with non- with the Pablo Casals Medal upon gradu- F. Stuart, James Mismas, Patricia musical concepts. She has also been ation from the Puerto Rico Conservatory of Havranek, Dale Moore, Gary Arvin, Eric active as a painter, which has led her to Music, won first prize in the Las Americas Dalheim, Henry Holt, Robert Grayson, and experiment with integrating sound and Festival Solo Competition, and has Martina Arroyo. Prior to her appointment image into a single artwork. She has had received grants from the National Endow- at UIUC, she served on the faculties of many works recognized in numerous ment for the Arts and sponsorship from DePauw and Illinois Wesleyan Universities. places such as the 2003 Luigi Russolo Chamber Music America. He has present- Ms. Harris has a diverse performing expe- International Electroacoustic Competition; ed recitals and master classes and per- rience that ranges from singing the title 2003 ASCAP/SEAMUS; Concurso Interna- formed as a soloist with orchestras in role in Massenet’s Manon with Baton cional de Música Eletroacústica de Canada, Costa Rica, Colombia, Ecuador, Rouge Opera and Zerlina in Don Giovan- SãoPaulo; 2004 Australasin Computer Germany, Guatemala, Japan, Puerto Rico, ni with Arizona Opera, both under the w Music Conference; MUSICA CONTEMPO- Spain, , and the United States. stage direction of famed basso, Giorgio i RANEA in Ecuador; 2004 International He is a faculty member and frequent per- Tozzi, to dancing Jerome Robbins original n Computer Music Association; 4th Annual former at the International Festival-Institute choreography along side Broadway star t Electroacoustic Musical Festival in Santia- at Round Top and the Aria International Bebe Neuwirth, in Cleveland Opera’s e go, Chile; Palmarès du 31e Concours Music Festival. Professor Colón’s perform- highly acclaimed production of West Side r International de Musique et d’Art Sonore ing editions have been published by Mas- Story. In her many seasons as a leading 2 0 0 6 17 New Appointments

lady and Assistant to the Director at Ohio Suzanne Hassler, at Harvard University. Suzanne is responsi- Light Opera, Ms. Harris was featured in Academic Professional, ble for helping raise funds for the UIUC over thirty roles by major operetta com- received her B.F.A. School of Music; editing sonorities; coordi- posers such as Offenbach, Lehar, Strauss, (magna cum laude) nating the annual Student Awards and Herbert, and Romberg. Harris has distin- from the University of Commencement ceremonies; and organiz- guished herself as an expert interpreter of Illinois at Urbana- ing alumni activities at major conferences the Gilbert and Sullivan style. Having sung Champaign and her and cities throughout North America, such nearly all of the G&S female roles, Ms. M.A. (summa cum as the American Musicology Society, Harris is most noted for her portrayal of laude) in theatre history and criticism, with IMEA, MENC, Society for Ethnomusicology Yum-Yum in The Mikado, a role she per- an emphasis in opera, from The University and the Midwest Conference. formed more than fifty times at Ohio Light of Texas at Austin; her Principal teachers Opera, as well as Toledo Opera and the include Oscar Brockett, Martha Deather- Dennis Helmrich, Grant Park Music Festival in Chicago. Her age, and David Garvey. Suzanne joined Associate Professor other credits include roles with Utah Festi- the UIUC School of Music as Coordinator and Chair of Accom- val Opera, Eugene Opera, Opera Theatre for Alumni Relations and Development in panying, received his of San Antonio, and creating the role of August 2005, having served previously as B.M. (cum laude) and Lola Lopez in the world premiere of Robert the communications director and develop- M.M. with honors from Ward’s Lady Kate with Triangle Opera. ment liaison for The University of Texas at Yale University, and he On the concert stage, Ms. Harris has per- Austin School of Music. While at UT she later did doctoral stud- formed with symphony orchestras across completed an historical recording project ies at Boston University as a student of the country. While serving as the Artistic featuring David Garvey, Leontyne Price’s Béla Boszormenyi-Nagy. A native of Director of Prairie Fire Theatre (a profes- longtime artistic partner, and four Ameri- Newark, NJ, he began his piano studies at sional light opera company in Blooming- can opera singers titled “The Horse I Ride the age of five, and both he and his twin ton, Illinois), she staged eight full Has Wings,” later accepted into the brother sang in the famous boy choir of St. productions including operetta and musical Library of Congress. She was a member of Thomas’ Church on Fifth Avenue in New reviews. As a member of the voice faculty the UT College of Fine Arts External Rela- York City. As a boy he studied solfege with and assistant opera director at Illinois Wes- tions and Development Committee, the City Max Goberman, piano with Eugene leyan University, Ms. Harris directed many of Austin’s annual B. Iden Payne Theater Hellmer, and flute with George Opperman mainstage productions, including Gianni Industry Awards committee, and was invit- and Gerald Rudy. During his years at Yale, Schicchi, Die Fledermaus, and Trouble in ed to join the executive committee of the Helmrich received prizes from the Lace- Tahiti. Nationally, she has served as guest city-wide 2006 Shostakovich Festival. wood and Ditson foundations and the stage director for the production of Suzanne was recognized by UT with an National Endowment for the Arts, having Yeomen of the Guard at the prestigious Outstanding Service Award in 1998 and studied piano with Donald Currier. At the Brevard Music Festival; and has worked as named the National Critics Association’s age of twenty-four he joined the musical a choreographer/Assistant to the Director Southwest Regional winner in 1991. She faculty of Antioch College, and subse- at Eugene Opera, Ohio Light Opera, and has worked on repeat occasions with inter- quently served on the faculties of the State the North Carolina School of the Arts. Her national stage director Robert Wilson, University of New York campuses at voice students have won major awards most memorably as Saint Theresa I in Albany and Purchase, the Jewish Theologi- and scholarships to graduate schools, such Virgil Thomson’s Four Saints in Three Acts, cal Seminary, Manhattan School of Music, as The Cleveland Institute of Music, The and has coordinated many regional, The , and New York Univer- Manhattan School of Music, Florida State, national, and international events including sity. Invited to the Tanglewood Festival in University of Illinois, and Indiana Universi- an interdisciplinary symposium, “From Text 1969 to aid in the musical preparation of ty. Many of her students have attended the to Performance: Law and Other Performing Berg’s Wozzeck under Erich Leinsdorf and summer programs at Brevard Music Festi- Arts,” directed by Sanford Levinson, with Michael Tilson Thomas, in the following val, AIMS, Daniel Ferro Vocal Institute and guest artists and speakers Jonathan Miller, year Helmrich was appointed Vocal Music Opera Festival di Roma. Likewise, her Richard Taruskin, Lewis Lockwood, Joshua Coach at the Tanglewood Music Center, a music theater students have been success- Rifkin, Anthony Tommasini, Malcolm Bil- position he has held ever since. Almost ful working with major theater companies son, and Russell Sherman. She has worked from the outset of his career Helmrich has and national tours. Ms. Harris is an active professionally with the Alley Theater in concentrated on chamber music and the member of NATS, Opera America and Pi Houston, American Repertory Theater at art song literature. It is as a sonata partner Kappa Lambda. Harvard, Austin Lyric Opera, Krannert and accompanist that he now makes most Center for the Performing Arts, and The of his concert appearances in a schedule University of Texas Performing Arts Center. that has taken him in recent years to thirty s o While conducting graduate research in states, Canada, Latin America, Europe, n Cambridge, she also completed a profes- and Asia, and to stages such as Avery o r sional internship in Public Relations and Fisher, Alice Tully, and Carnegie Halls in i Marketing under artistic director Robert New York, Masonic Auditorium in San t Brustein at the American Repertory Theater Francisco Symphony Hall in Boston, and i e s 18 Severance Hall in Cleveland. He has per- of his own music after winning the 21st recipient of the National Academy of formed with such artists such as John Aler, Century Piano Commission Award which Recording Arts & Sciences Virtuoso Award , Richard Stilwell, Mary Ann included a new piano piece entitled for trombone, awarded after being voted Hart, Eugenia Zukerman, Claire Bloom, Sonata Urbana, premiered by Brad Fried- Trombone MVP by the New York record- Carol Wincenc, Gary Shocker, Roberta man, as well as another solo piano work, ing community for five years. Recent CD Peters, Petra Lang, Roberta Alexander, and Owen’s Leaf, a song cycle for voice, violin projects include the new Steely Dan CD the late, legendary Charles Holland. Helm- and guitar on poems by Charles Simic and Everything Must Go, lead trombone on the rich has appeared frequently at the Tangle- a micro opera for actor, guitar, and live forthcoming Carla Bley record- wood, Bard, Yachats, and Caramoor electronics. As a guitarist Tim has pre- ing Looking For America, and a two-trom- Festivals. A continuing interest in contem- miered many new works. His most recent bone jazz outing entitled E’nJ - Legend porary music has led Helmrich to give first recital was broadcast live on Illinois Public and Lion with Japan’s leading young trom- performances of many American composi- Radio station WILL and it included the bone star, Eijiro Nakagawa. tions. For four years he was co-director of broadcast premiere of his solo guitar piece As a lead or principal trombone, Pugh Hear America First, a New York concert Tango Terceira. This piece had its origins in has performed on more than 40 film series devoted to the performance of Amer- Tim’s two-year stay in the Azore Islands soundtracks, ranging from Beauty and the ican music. He has recorded chamber where he taught classical guitar at a con- Beast to When Harry Met to Rocky V. music and songs on the Orion, Spectrum, servatory. He has recorded with such artists as Pink Nonesuch, Chesky, Musical Heritage, Floyd, Yo Yo Ma, Madonna, Paul Simon, Albany, Newport Classic, Delos, and Sam- James (“Jim”) Frank Sinatra, Barbara Streisand, and sung label. His publications include trans- Pugh, Professor of Dawn Upshaw, to name a few. Jim has lations of opera libretti and song texts, and Jazz Studies (Trom- also been a featured soloist on recordings he has created supertitles for numerous bone and Composi- with André Previn, , Harry operatic productions. tion/Arranging), Connick Jr., Eileen Farrell, , joined the UIUC faculty Dave Matthew’s Manhattan Jazz Orches- Timothy Johnson, Visiting Lecturer in in 2005. Prior to his tra; the Broadway cast of Fosse, Composition-Theory (Fall only), received appointment here, he Victor/Victoria, City of Angels, and The his B.M. in Music Composition with distinc- taught at the Purchase College Conservato- Will Rogers Follies; and with the St. Luke’s tion from the University of Wisconsin, his ry of Music (SUNY), the University of the Chamber Orchestra and Kathleen Battle in M.A. in composition and M.M. in guitar Arts in , and at New York Uni- André Previn’s Honey and Rue. His from the University of Minnesota/Twin versity. Pugh has had a distinguished , Crystal Eyes, was released on his Cities, and D.M.A. in composition from the career as a freelance trombonist, compos- label, Pewter Records, and his compact University of Illinois. Tim’s compositional er, and educator. His playing crosses all disc with bass trombonist David Taylor output runs the gamut from music for tradi- boundaries. He has been a featured soloist (The Pugh/Taylor Project - Digital Music tional instruments to the most recent devel- on Grammy-Award winning recordings Products), in addition to receiving wide- opments in electronic and computer music. with and has recorded spread critical acclaim, was named one of His algorithmically composed Electric Med- large orchestral works with the EOS, Con- the ten best CDs by the audiophile publica- itation was most recently performed at the cordia, St. Luke’s, and 92nd Street Y tion The Absolute Sound. 2005 International Lisp Conference held at Orchestras. While at Eastman, Jim studied Pugh has composed and arranged Stanford University. This piece is written with Emory Remington, Donald Knaub, music for jingles (MCI, Chrysler, Sprite, entirely in Lisp using Heinrich Taube’s Chuck Mangione, Ray Wright, and Fresca, Diet Coke), National Public Radio, Common Music algorithmic environment received Eastman’s coveted Performer’s films, and records. His composition Lunch and Bill Schottstaedt’s Common Lisp Music Certificate. Upon leaving Eastman, Jim with Schrödinger’s Cat received a Lincoln signal processing environment. Electric joined the Woody Herman Band as lead Center premier in 1989 by Marin Alsop Meditation has also been featured on the trombone and featured soloist and record- and the Concordia Chamber Orchestra. most recent CD of Experimental Music Stu- ed extensively with Woody over the next He has also been involved with the devel- dios composers from the University of Illi- four years. After leaving Woody, he opment of the Edwards small-bore tenor nois. A previous recording from EMS recorded and toured with for trombone, has worked closely with Dave composers featured an electronic work of two years, with recordings including Monette in the development of the Monette Tim’s entitled Begin the Beguine. His Musicmagic, Secret Agent, and Return to TS11 and TS 6 small-shank tenor trombone orchestra piece Antyphony: Paul Morphy Forever - Live. mouthpiece, and appears frequently at vs. Duke of Brunswick and Count Isouard After settling down in New York, Jim major schools of music, conservatories, won the 2004 University of Illinois Orches- was in constant demand for the recording and conferences throughout the country as w tra Prize. The piece is based on a famous of films, records, and jingles, having per- a guest artist/clinician. i nineteenth century chess game. The cham- formed on over four thousand recording n ber work In the Beginning for clarinet, sessions to date. He spent the summer of t e viola and piano was performed at the 2000 playing and touring with the eclec- r 2002 Midwest Composer’s Symposium at tic rock group Steely Dan, which he Indiana University. Tim produced a concert repeated in later years. He is the only 2 0 0 6 19 New Appointments

Svanibor Pettan, Katherine Syer, Vis- John Wagstaff, Associate Professor of Visiting Associate Pro- iting Assistant Professor Library Administration and Head of the fessor of Musicology of Musicology, Music Library, received his B.A. in Music (Spring only), studied received her B.A. in from the University of Reading, UK; M.M. ethnomusicology in Economics, B.A. in in Historical Musicology from King’s Col- Croatia (B.A.), Slove- Music, and M.A. in lege, University of London; and Diploma in nia (M.A.), and the Music from McMaster Librarianship from Polytechnic of North United State of Ameri- University, and her London. Prof Wagstaff, who is a Fellow of ca (Ph.D.). He researched music in his Ph.D. in Musicology from the University of the UK Chartered Institute of Library and native Croatia, Slovenia, in the Victoria in British Columbia. Her research Information Professionals (FCLIP), joined (particularly in ), Africa (Tanzania, focuses on the music and aesthetics of the the University of Illinois from the University Egypt), Australia, and the United States. At Romantic era. A specialist on the stage of Oxford in England, where he was the the University of Oslo he became involved works of Richard Wagner, her operatic Music Librarian at the Faculty of Music with applied ethnomusicology through the interests extend to other eras, with a focus from 1988 until early 2005. From 1984 to Bosnian-Norwegian project “Azra.” His on current staging issues. Syer is co-editor 1988, he ran the music library at King’s specialties include Balkan Gypsy music, of a Companion to Richard Wagner’s Par- College, University of London, where he multicultural music education, and music in sifal (May 2005, Camden House Press). also trained as a musicologist. Professor relation to politics, war and exile, as seen Her contributions to the volume include Wagstaff is an active member of both the in his writings published in , Croat- tracing the sometimes disturbing history of International Association of Music Libraries ia, Finland, Germany, Serbia, Slovenia, performances across several continents, and the Music Library Association, and Sweden, and the US. He is Assistant Pro- considering dozens of productions from has served as editor of the library journals fessor at the Institute of Ethnology and Folk- 1882 until the 21st century. In another Brio (during the early 1990s) and Fontes lore Research in Zagreb, and at the Music chapter, she examines creative parameters artis musicae (from 2000 to 2004). His Academy of the University in Ljubljana. such as motivic handling, tonal structure, publications and reviews span both musi- stage direction, and large-scale dramatic cology and music librarianship. His André Anna Schultz, Visit- shape. These concerns are central to her Messager: a Bio-Bibliography appeared in ing Assistant Professor monograph in progress, Altered States, a 1991 from Greenwood Press, and was fol- of Musicology, study of the metaphorical significance of lowed by the British Union Catalogue of received her B.A. in early nineteenth century psychology for Music Periodicals (Ashgate), which was Anthropology (magna Wagner’s musico-dramatic experiments prepared under his editorship and pub- cum laude) from Beloit from the early 1840s on. Together with lished in 1998. He is currently working College, her M.A. in William Kinderman, Syer regularly leads on a study of Robert Cocks (a nineteenth- Social science from the seminars on Wagner in conjunction with century London music publisher) and on a University of Chicago, and her Ph.D. in the Wagner Festival at Bayreuth, Germany. book provisionally entitled Music Librarian- Ethnomusicology from the University of Illi- In the area of sketch studies, Syer’s work ship: A Bibliography of Principles and nois. Prior to her appointment at UIUC, she on Schumann’s Märchenbilder and Practices, for which he also has a contract taught music and anthropology at Ithaca Beethoven’s Fidelio has been presented as with Ashgate. At the University of Illinois College and Morrisville State College, and conference papers; a current project con- Professor Wagstaff teaches courses in she maintained a private piano studio in cerns the genesis of the text of Wagner’s music librarianship for the Graduate Ithaca, New York. Schultz is interested in Der Ring des Nibelungen and its musical School of Library and Information Science the intersections between religion, politics, implications. Her research has been sup- and contributes to classes in research and music in South Asia. Her recent work ported by the Deutscher Akademischer methods and music bibliography in the is on nationalism and devotion in rashtriya Austauschdienst (DAAD), and the Social School of Music. He also remains active in kirtan, an Indian performance medium that Sciences and Humanities Research Council the field of library education in the UK, as combines singing, storytelling, and philo- of Canada. program adviser for modules in music sophical discourse. This research is based librarianship at the University of Aberystwyth. on seventeen months of fieldwork conduct- ed in Maharashtra, India and was support- ed by grants from Fulbright-Hays, the Katherine Syer’s and William Kinderman's American Association of University opera seminar members Women, and the University of Illinois. meet with Wolfgang Wagner, 86-year old Schultz’s articles have been published in grandson of the composer Ethnomusicology and The Encyclopedia of Richard Wagner, at the s Popular Music of the World. Wagner Festival in o Bayreuth, Germany. n o r i t i e s 20 Book News & Reviews

Kinderman’s Beethoven Musicians as Agents of Chicago Press, which is edited by Prof. Sketchbook Series and CD Political Transition Bruno Nettl and Philip Bohlman, Ph.D. from the UIUC and incoming president for Receive Outstanding Reviews The fall of the Berlin the Society of Ethnomusicology. William Kinder- Wall in 1989 sig- naled the onset of man’s three-vol- Performing Democracy: Bulgarian Music ume edition of the tumultuous political, and Musicians in Transition Beethoven sketch- economic, and social Donna A. Buchanan book “Artaria reforms throughout University of Chicago Press 195” and his CD Eastern Europe. In ISBN 0226078272 recording as Czechoslovakia, www.press.uchicago.edu pianist of Poland, and the Sovi- Beethoven’s “Diabelli Variations” for Hype- et Union these rion/Helios Records are the focus of two changes were linked to the activities and back-to-back reviews in the most recent philosophies of political figures such as Second Edition of issue of Beethoven Forum (December 1, Václav Havel, Lech Walesa, and Mikhail 2005). Gorbachev. In Bulgaria, however, these Ethnomusicology Classic Richard Kramer writes about the changes were first heralded and even facil- Now Available “Artaria 195” edition, and the Beethoven itated by particular musicians and shifting This fall, the second Sketchbook Series it initiates, that “the musical styles. edition of The Study of indefatigable William Kinderman has Based on fieldwork conducted between Ethnomusicology by mounted single-handedly an impressive 1988 and 1996 with professional Bulgari- Bruno Nettl was pub- new series, of which this edition of ‘Artaria an folk musicians, Donna A. Buchanan’s lished by the University 195’ is the auspicious project,” and Performing Democracy: Bulgarian Music of Illinois Press. that Kinderman “has put this monumental and Musicians in Transition argues that the According to the Press, project back on our screens. His passion- performances of traditional music groups the first edition of this ate articulation of its goals, his imaginative may be interpreted not only as harbingers book, published in and bold invitation to a new generation of but as agents of Bulgaria’s political transi- 1983, has become a classic in the field. scholars on its behalf, and finally the deed tion. Many of the musicians in socialist Bul- This revised edition, written twenty-two itself, the actuality of this formidable first garia’s state folk ensembles served as years after the original, continues the tradi- issue, represent our current best hope for official cultural emissaries for several tion of providing engagingly written analy- its eventual realization.” decades. Through their reminiscences and sis that offers the most comprehensive Matthew Bengtson’s article in repertoires, Buchanan reveals the evolution discussion of the field available anywhere. Beethoven Forum compares Kinderman’s of Bulgarian musical life as it responded to This book looks at ethnomusicology as a CD of the “Diabelli Variations” to record- and informed the political process. By field of research, focusing on 31 concepts ings of ten other , including Arrau, modifying their art to accommodate chang- and issues that have been the subjects of Brendel, Richter, and Serkin, and he writes ing political ideologies, these musicians lit- continuing debate. that “the insight and commitment one finds erally played out regime change on the According to Eastman professor Ellen in Kinderman’s writings are strong charac- world’s stages, performing their country’s Koskoff, past president of the Society for teristics of his recording as well.” democratization musically at home and Ethnomusicology, it “does a wonderful, abroad. even heroic job of highlighting the major Beethoven Sketchbook Series Performing Democracy and its accom- issue of the field, then tracing them over William Kinderman panying CD-ROM, featuring traditional Bul- time to reflect their development and inter- w University of Illinois Press garian music, lyrics, notation, and photos, relatedness.” Anthony Seeger, of UCLA, i ISBN 0252027493 reflects in the many ways how art echoes n www.press.uillinois.edu calls it “an astounding achievement by a and influences politics. The publication is a t scholar who has shaped the field more e part of the Chicago Studies in Ethnomusic- than anyone else.” r ology, published by the University of 2 0 0 6 21 Book News & Reviews

Bruno Nettl is professor emeritus of ed subjects. Alumni of the school will represents the culmination of Professor music and anthropology at the UIUC remember with pleasure his performances Racy’s long and distinguished career as an School of Music. An internationally as the clarinettist with the New Golden accomplished performer, scholar and renowned musicologist, he is both a Rule Orchestra at Nature’s Table on Friday teacher of Middle East music. He explores founder and past president of the Society afternoons. the phenomenon of the tarab—looking at for Ethnomusicology and the author of its musical substance, lyrics, performance many books. Pioneers of Jazz: practice, secular and religious ecstasy and The Story of the Creole Band musical education. It is written in a clear Lawrence Gushee The Study of Ethnomusicology: and engaging style that will appeal to Thirty-One Issues and Concepts Oxford University Press ISBN 0195161319 musicians and non-musicians alike. It is Bruno Nettl rare that we find a book that opens up to University of Illinois Press www.oup.com ISBN 0252072782 the general reader—and indeed many www.press.uillinois.edu Middle East specialists—the world of Arab music and that is why the judges decided to award the major prize this year to this Distinguished Alumnus Ali wonderful book.” Jihad Racy’s Book on Arab In the United States, the Society for Gushee’s New Book Traces Music Wins Awards Ethnomusicology’s Alan P. Merriam Prize Early Days of Jazz Committee, in determining the most distin- Ali Jihad Racy, a guished book in ethnomusicology pub- “This is the book we graduate of the Uni- lished in 2003, granted Making Music in have been waiting versity of Illinois the Arab World Honorable Mention at the for,” said Bruce Boyd and doctoral Society’s Annual Meeting in November Raeburn of Tulane advisee of Prof. 2004. Since its publication, this extraordi- University about Pio- Bruno Nettl, an nary book has led to numerous interviews neers of Jazz by internationally with the author, including the British Broad- UIUC School of Music known performer, casting Company (BBC), and to a full- Professor Emeritus composer, and length program on tarab on Public Radio Lawrence Gushee. authority on music International (PRI). The work is expected to This recent release of the Near East, and professor of ethno- also be released in Turkish and Arabic chronicles the history of the renowned musicology at the University of California translations. seven-piece Creole Band and its central at Los Angeles, was recognized for a Professor Racy was born in Ibl al-Saqi, role in the dissemination of jazz in New major contribution in the field of ethno- Lebanon in 1943 and comes from a family Orleans in the period of World War I. Pub- musicology. of poets, scholars, and artists. He graduat- lished by Oxford University Press, the work His publication, Making Music in the ed from the American University of Beirut has received significant praise. Dan Mor- Arab World: The Culture and Artistry of with a B.A. in 1967 and received his Mas- genstern, Director of the Institute of Jazz Tarab (Cambridge University Press), won a ters of Music and Ph.D. in Musicology from Studies at Rutgers, calls it “a masterpiece prestigious first prize for the best book on the University of Illinois at Urbana-Cham- of scholarly research, then also a damn the Middle East to appear in 2003. Grant- paign in 1971 and 1977 respectively. good read.” scholar Edward A. ed annually by Al-Mubarak Foundation Berlin describes Gushee as “the most tena- and sponsored by the British Society for Making Music in the Arab World: cious of musical sleuths as he traces the Middle East Studies (BRISMES), the award The Culture and Artistry of Tarab earliest days of jazz.” was presented to Racy at a special cere- Ali Jihad Racy Lawrence Gushee has been affiliated mony during the Society’s annual meeting Cambridge University Press s with the University of Illinois School of at the School of Oriental and African Stud- ISBN 0521304148 o www.cambridge.org n Music as a professor of musicology since ies (SOAS) in London in July 2004. o r 1976 and devotes himself to music of the According to Dr. Noel Brehony, chair- i middle ages, as well as to jazz and relat- man of the judging committee, “[The book] t i e s 22 Faculty News

Reid Alexander Zack Browning Barrington (piano) saw the inau- (composition-theory) Coleman (voice) was gural release this year had four compositions the tenor soloist and of ten volumes of the premiered during the featured conductor of Celebrate Composers 2004-05 academic combined choral Series (Frederick Harris year. Secret Pulse, for ensembles for the Inau- publisher) compiled by chamber ensemble and guration Ceremony of Reid Alexander, computer-generated UIUC’s 16th President, Samuel Holland, Marc Widner, and sounds, was premiered at Georgia State B. Joseph White on September 22, 2005, Andrew Hisey. Each volume is devoted to University in Atlanta by NeoPhonia and as well as the featured tenor in the Faculty the solo piano music of a selected compos- received subsequent performances by Vocal Recital held in Foellinger Great Hall er. The release of volumes for Bach (vol. 2, NeXT Ens at the Spark Festival in Min- on October 16, 2005. He commemorated Inventions and Sinfonias) and Clementi will neapolis and at The Cincinnati Conservato- his tenth year of directorship of the Varsity occur in early 2006. This July, volumes 11- ry of Music. The Atlanta Journal- Men’s Glee Club on October 29, 2005, 13 devoted to Mendelssohn, Scarlatti, and Constitution described the work as “way- with a Father’s Day Concert. Guest artists Chopin (vol. 2) were announced. Addition- cool in attitude” and “speed-demon included the Women’s Glee Club and the ally, Dr. Alexander served as moderator music.” Browning’s Crack Hammer for Other Guys octet in a program of beloved for a session at the National Conference clarinet and computer-generated sounds sacred and secular treasures, including the on Keyboard Pedagogy in August and was premiered by Esther Lamneck at New Mass excerpt Kyrie, composed by School gave a master class for the St. Louis Music York University and later performed at the of Music alumnus Steven Hackman Teachers Association in September. He will University of Florida Electroacoustic Music (B.M. ‘01). The Kyrie was commissioned to be the featured artist clinician for the Iowa Festival. Howler Back was premiered by honor Prof. Coleman in his tenth year as Music Teachers Association in 2006. the PRISM Saxophone Quartet at their director of the Varsity Men’s Glee Club. 20th Anniversary Concert at Symphony November 18-19, Dr. Coleman served as Christina Bashford Space in New York City, and Flaming guest choral conductor and as a clinician (musicology) published Walls, for trumpet, trombone and piano, for the 2005 New York State Music Asso- an essay on nineteenth- was premiered by the Confluences Trio at ciation’s All-State Choral Festival held in century Mozart recep- the Bonk Festival of New Music at Tampa. Saratoga Springs, New York. He will serve tion in Words About in a similar capacity for Songfest ’06, a Mozart: Essays in Hon- Elliot Chasanov H.S./Middle School boy’s choral festival our of Stanley Sadie (trombone) performed and collegiate men‘s choral conference to (Boydell & Brewer). with the Illinois Brass be hosted by the Varsity Men’s Glee Club She also gave a paper on chamber music Quintet and presented in Urbana, April 21-22, 2006. historiography at the 5th International clinics in Washington Music in Nineteenth-century Britain Confer- DC; and in major Pol- Ollie Watts Davis ence in Nottingham (UK). In January ish concert halls and (voice) participated in 2006, Prof. Bashford will present a lecture- conservatories in War- the 2005 SongFest recital with Clive Brown and the LUCHIP saw, Lodz, Gdansk, Katowice, and Poz- professional program Ensemble at a Royal Musical Association nan during his sabbatical in Spring 2005. at Pepperdine Universi- conference at the University of Leeds (UK). He also performed with the Milwaukee ty (Malibu, CA) with Entitled “A Nineteenth-century Chamber Symphony Orchestra several times in composer Jake Heg- Music Experience,” it will explore issues of 2005 as principal trombone. gie; served on the fac- conduct, ambiance and performance styles ulty for the SongFest Young Artist Program; at London concerts, through a reconstruc- and presented a recital of arias and spiri- w tion of listening and performing practices tuals at the Los Angeles County Museum of i of the time. Dr. Bashford has also been Art (broadcast live on K-Mozart 105.1). n invited to speak at a Musicology Colloqui- Professor Davis visited the Centro Studi Ital- t um at the Peabody Conservatory in Balti- iano in Urbania, Italia as a researcher and e more in March 2006. artist, and contributed a chapter on r William Warfield in No Boundaries Uni- 2 0 0 6 23 Faculty News

versity of Illinois Vignettes (University of Illi- tured soloist with the University of Illinois Bosphorus Cymbals, Pro-Mark Drumsticks nois Press). As conductor, Ollie Watts Percussion Ensemble, and in Spring 2006 and Accessories, and Yamaha Drums. In Davis directed the Black Chorus in a per- will solo with the Eastman Percussion January 2006, Hall will lead a quintet in a formance at the National Association for Ensemble. series of performances throughout the Mid- the Study and Performance of African west in preparation for a studio recording American Music National Conference in Peter J. Griffin of his original compositions. In February Chicago and hosted the Seventh Biennial (band) served as guest 2006, he travels with to Puerto Black Sacred Music Symposium on the conductor at the Asso- Rico for performances, workshops, and UIUC campus. ciation of Concert cultural exchange with musicians in San Bands national conven- Juan. Prof. Hall, who was married in Janu- Timothy Ehlen tion in Quincy, and the ary 2005 to Melissa Kurpinski (now Melis- (piano) recently per- Interstate Eight Confer- sa Hall) is currently researching articles formed a recital at ence Honor Band in and papers on jazz ensemble performance Kum Ho Art Hall in Dwight, Illinois during the Spring 2005 practices, of the African Diaspora, Seoul, Korea. While semester. He was also an adjudicator/cli- and on a series of drum solo transcriptions in Korea, he offered nician at Jazz in the Meadows in Rolling for publication. several master classes Meadows, Illinois; All-Star Music Festivals and was interviewed in Orlando, Florida and at the Plainfield John W. Hill for various articles in the Korean piano Invitational Concert Band Festival in Plain- (musicology) has been magazine, The Piano. An extensive feature field, Illinois. In June Dr. Griffin was guest busy on the European about piano study at the University of Illi- conductor for the University of Iowa All- conference circuit. In nois will appear in this magazine this fall. State Music Camp in Iowa City, and for December of 2005 he Professor Ehlen’s solo piano CD containing the Illinois Summer Youth Music Camp in presented a paper in the Schumann Fantasie and other works Champaign. In July he served as Head Pisa, Italy, identifying was recently released on the Azica label. Clinician for the nationally famous Smith- the handwriting of Vin- The recording is available on many sites Walbridge Drum Major Camps at Eastern cenzo Galilei and Francesca Caccini in on-line, including Amazon.com and Illinois University. In January 2006, Dr. several Florentine monody manuscripts of Azica.com, in addition to Tower Records Griffin will present a clinic on historical the early seventeenth century. In March he and Borders. research at the Illinois Music Educators spoke in Dresden, Germany, about the ori- Association Convention in Peoria. On gins of Joseph Riepel’s eighteenth-century Ricardo Flores March 3, 2006, the Symphonic Band II, music theories. In September he offered a (percussion) presented under his direction, will present a concert paper in Rome, Italy, on aspects of solo numerous concerts and celebrating the one hundredth anniversary singing in Luca Marenzio’s sixteenth-centu- workshops throughout of the premiere of Illinois Loyalty. ry Italian madrigals. And, in December he the United States and will speak in Mantua, Italy, concerning the in Europe, including Dana Hall (jazz) love complaint in seventeenth-century teaching and playing maintains an active Orpheus operas and its connections with at Florida State Univer- performing, recording, theological and polemical writings about sity, The Hartt School of Music, West and clinician schedule women in that period. These appearances Chester University (PA), Tyler Junior Col- with recent activities in were all invited and funded by the confer- lege (TX) and Mesa State College (CO). Minneapolis, Chicago, ences. Flores was also featured as percussion Philadelphia, New soloist at the 26th Tri-C Jazz Festival in York City, San Francis- Jonathan Keeble Cleveland, OH where he played with the co, and Barcelona. Dana presented master (flute) appeared on Jazz Unit led by UI School of Music alum classes and workshops at the Skidmore two National Flute Howie Smith (M.S. ‘68) on a concert Jazz Festival; the Association Convention featuring Howard Johnson and Vernon Band Directors Academy, held this year at Recitals, in addition to Reid. In the summer of 2005, Prof. Flores Northern Illinois University; and Columbia acting as an adjudica- traveled to Europe with colleague William College Chicago. This fall he was invited tor for the Association’s Moersch, where he was a clinician and to give workshops at Northwestern Univer- annual Young Artist featured performer at the Crossdrumming sity, Temple University, and DePaul Univer- Competition. His recent solo CD icarus Festival in Jelenia Gora and Warsaw, sity on jazz performance and will present welcomed critical acclaim, and paved the Poland. This fall, Ricardo presented a papers in ethnomusicology at Ethnoise!, a way for the upcoming release of another s o conga clinic on fundamentals of sound scholarly workshop series held at the Uni- solo recording with University of Illinois n production at the 2005 Percussive Arts versity of Chicago. In June 2005, Mr. Hall oboist John Dee. In addition to serving as o r Society International Convention, the fore- completed a live recording with the Terell a panelist at the annual Chamber Music i most gathering of percussion artists and Stafford Quintet, to be released in early America Convention, Professor Keeble t teachers in the world. He will be a fea- 2006 on MaxJazz Records. This summer, appeared with the Prairie Winds on con- i e Dana also joined the roster of endorsers of s 24 cert series throughout the country. Upcom- Keeril Makan four harpsichords for the 99th season of ing performances include trips to Malaysia (composition-theory) the Bethlehem Bach Festival. Other high- and Florida with the Illinois Quartet, and will have his new lights of 2005-2006 include performances concert appearances throughout the Mid- piece for viola, clar- with Arte Bella, a baroque trio featuring west, Southeast, and West as a soloist and inets, and CD, Violent soprano, viola da gamba and harpsichord as a member of the Prairie Winds. Momentum, premiered for which she is founder and artistic direc- this fall in New York, tor. Her review of Robert Zappulla’s book William Kinderman Washington D.C., and Figured Bass Accompaniment in France, (musicology) presented San Francisco with the dance company which appeared in the Fall 2005 issue of lecture recitals on LEVYdance. Violent Momentum was com- the Journal of the Society for Seventeenth- Beethoven’s creative missioned by Meet the Composer/ NEA. Century Music concerns a variety of instru- process at two interdis- Makan’s work, Target, for voice and mental combinations (keyboard and bass ciplinary conferences ensemble will be performed at the Knitting melodic instruments) used in continuo play- in Berlin, on “Imagina- Factory in New York, as well as in Brook- ing, the accepted temperaments tion and Invention” lyn, New Haven, and Cambridge by the (Rameau’s, Correttes), and the mnemonic (January) and “Aesthetic Experience and newly formed ensemble Newspeak. His methods for learning figures (Saint-Lam- Editions” (October), and offered several solo for baritone saxophone, Voice within bert’s, Delair’s). Professor Mattax continues piano recitals devoted to Beethoven, Voice, will be performed in Baltimore and to serve on the Board of Directors for the including a concert held in August during San Francisco by saxophonist Brian Southeastern Historical Keyboard Society. the Wagner Festival at Bayreuth, Germany, Sacawa and at the Festival for New Amer- where he led a study seminar. His edited ican Music in Sacramento, California by Tim McGovern book The String Quartets of Beethoven saxophonist Susan Fancher. The New () served as was published by the University of Illinois Music Ensemble at the University of Illinois Principal Bassoon with Press in 2005, and while in Salzburg in will perform his sextet bleed through dur- the Ravinia Festival May, he completed research for a forth- ing their fall season. Orchestra; played coming book, Mozart’s Piano Music, that Ravel’s Daphis and will appear during 2006 with Oxford Uni- Joseph Manfredo Chloe with the Grant versity Press. During November, Prof. Kin- (music education) was Park Symphony derman also presented several lectures appointed program Orchestra at Millennium Park; and was and performances in Spain, including a coordinator for clinical bassoon soloist with the U of I Wind Sym- program of the Mozart and Beethoven experiences, including phony under conductor James Keene. He piano and wind quintets, and a lecture early field experience premiered the Sonata for Bassoon and recital on “Beethoven, Thomas Mann, and and student teaching. Piano by Ohio composer Nikola Resanovic the Mystery of Opus 111.” In January 2005, Man- and released a recording of the Concerto fredo conducted the Illinois All-State Band for Bassoon by Gordon Jacobs. This sum- Kazimierz Machala at the Illinois Music Educators Association mer he also served on the bassoon faculty (brass) was a recipient (IMEA) state convention. In November in residence with the Prairie Winds Wood of the 2005-06 Ameri- 2005, he conducted the IMEA District I Quintet, at the Madeline Island Music can Society of Com- and VI Honor Bands. In January 2006, Dr. Camp in Wisconsin and on the faculty of posers, Authors and Manfredo will present clinics on instrumen- the Birch Creek Music Camp in Door Publishers Award. In tal rehearsal techniques at the Illinois County. He performed in concert with 2004, Machala com- Music Educators Conference and the Indi- Prairie Winds Woodwind Quintet in Wis- posed a new work ana Music Educators Conference. Finally, consin, Michigan, New Mexico, South Brass Quintet No.1 which was premiered the Journal of Band Research is publishing Carolina, and New Hampshire. This by the UI faculty Illinois Brass Quintet on his paper, “The American Bandmasters ensemble also completed a CD recording April 3, 2005, and performed by the Association and its impact upon the devel- of quintet music by Ligeti, Schervansky, group in five cities on a concert tour of opment of the instrumentation of the wind- and Blummer, which will be released in Poland in April. Kaz also completed an band (1930–2005)” in its Spring 2006 2006. In November 2004, IQ, the Univer- for horn, guitar and double edition. sity of Illinois faculty woodwind quartet bass of Vitaly Buyanovsky’s Espana origi- composed of Profs. Keeble, Dee, Harris, nally written for horn solo. Charlotte Mattax McGovern, presented master classes and (harpsichord) will be recitals for the Elgin Youth Symphony w featured in May 2006 Orchestra, the Midwest Young Artists i as a concerto soloist in Orchestra, Homewood Flossmoor HS, Joli- n performances of et West HS, Wheaton Warrenville HS, t e Johann Sebastian Glenbard West HS, Hersey HS, and r Bach’s concerti for Prospect HS. one, two, three and 2 0 0 6 25 Faculty News

William Moersch which is scheduled for publication this (percussion) was a fea- year in the Alamire Foundation Yearbook tured solo artist for the (vol. 6/7). Together with Don Krummel, Crossdrumming Festi- Professor Emeritus of Library and Informa- val 2005 in Poland tion Science, Dr. Parisi completed a mono- during June and July, graph by the late Phyllis Danner, to be presenting a series of published by Harmonie Park Press, where recitals and master Parisi is series editor. The monograph is classes in both Jelenia Gora and Warsaw. titled Sousa at Illinois. He then co-hosted the Illinois Summer Youth Music Advanced Percussion Camp The Pacifica Quartet, composed of Edward Rath with faculty colleague Ricardo Flores. Simin Ganatra (violin), Sibbi Bern- (associate director) Upcoming solo appearances include the hardsson (violin), Masumi Rostad was voted on to the premiere of David Gillingham’s newly- (viola), and Brandon Vamos (cello), Board of Directors of expanded concerto Quintessence II, with released a three-CD set of the complete the American Liszt James Keene and the UI Wind Symphony string quartets of to Society in April 2005 at New York’s Carnegie Hall in February great critical acclaim in Spring 2005. Sub- and also named Editor 2006. Moersch also continues to serve as sequently, there have been feature articles of that organization’s a member of the Board of Directors for the on the quartet in the June issue of Strad newsletter, which has a world-wide reader- Percussive Arts Society. Magazine, and in the July issues of ship of about 500 individuals and sub- Grammaphone and Fanfare Magazine. scriptions held by 100 or so libraries and Bruno Nettl The St. Louis Post-Dispatch writes “...splen- other institutions. (musicology) spent a did new recording...sets a new gold stan- week lecturing as Mar- dard for performances of Mendelssohn’s Sam Reese sico Visiting Scholar at string quartets.” The Chicago Tribune cites (music education) pre- the University of Den- the quartet’s “technical and musical com- sented a clinic at the ver, and another week mand, depth of understanding and urgent- New Directions in teaching at the Memor- ly expressive response to the music’s Music Education: ial University of New- varied colors and moods... .” Strad Maga- Teaching Composition foundland. He delivered several invited zine proclaims “...this outstanding set from and Improvisation Con- papers, including, in June 2005, “The the U.S. goes straight to the top of the ference, held at Michi- Concept of Evolution in the History of class for playing and recording...interpre- gan State University, November 3–5, Ethnomusicology,” at a Conference on Evo- tations burst with energy,” and Fanfare 2005. His talk was entitled “Integrating lutionary Musicology sponsored by the writes “...the Pacifica Quartet displays a Composition Mentoring into Music Teacher University of Munich. During the last year, fine sense of drama...outstanding perform- Education.” Sam has also been invited to publications of his have appeared in ances... .” The 2005-06 season will be a be the keynote speaker at Hong Kong Insti- French, German, Iranian, Chinese (and busy one for the quartet, with performanc- tute of Education for the Arts Education American) periodicals. A new, consider- es all over the world, including an appear- Innovation Symposium, March 22–26, ably enlarged edition of Nettl’s book The ance on Lincoln Center’s Great Performers 2006. He will speak on “Perspectives for Study of Ethnomusicology, previously pub- Series, a return appearance at Wigmore Planning for Technology Integration.” lished in 1983, was issued by the Universi- Hall in London, and over 80 concerts ty of Illinois Press in November 2005. across Europe and the United States. Donald Schleicher During the past year, he served as co-chair (orchestra) will begin of the program committee for the 50th Susan Parisi his seventh season as anniversary conference of the Society for (research scholar in Music Director and Ethnomusicology in Atlanta. music) participated in Conductor of the Quad the 2005 Medieval City Symphony and Renaissance Con- Orchestra. He recently ference, held in July at guest conducted the the Centre d’Études Daegu (South Korea) Symphony Orches- Supérieures de la tra, was guest conductor at the 2005 Renaissance, in Tours, France, where she Great Lakes Chamber Music Festival col- chaired the session on Tallis and Byrd. She laborating with soprano Lucy Shelton, and s also carried out research in the Archives o was guest conductor of the Minnesota All- n du Royaume, Brussels; Archives State Symphonic Band. In April of 2005, o Nationales, Paris; and Public Record r he did a residency as a guest conductor i Office, London for two studies on court fes- and gave conducting master classes at t tivals during Monteverdi’s time, one of Baylor University, as well as the University i e of Wisconsin at Stevens Point. s 26 Fred Stoltzfus Katherine Syer titled All At Risk. All At Risk, a composi- (choral) spent a sab- (musicology) While tion centered around ABC news correspon- batical researching the teaching a course on dent Brian Rooney’s email to his family genesis of the “Agnus Wagner’s Der Ring des while covering the war in Iraq, was select- Dei/Dona nobis Nibelungen, Dr. Syer ed for performance at the 2005 National pacem” movement led a group of 49 from Conference of the Society for Electro- from Beethoven’s UIUC to attend Wagn- Acoustic Music (SEAMUS), April 14-16, Missa solemnis. Over er’s complete opera 2005. On a Roll was selected by SEAMUS a period of twelve weeks in Berlin he cycle at Chicago’s Lyric Opera in April conference participants to appear on Vol- worked with over 200 pages of extant 2005. At the Kalamazoo International ume 14, Music from SEAMUS compact Beethoven sketches catalogued in the Medieval Congress in May, Syer presented disc recording series released in June Staatsbibliothek and prepared a transcrip- a paper entitled “Peter Konwitschny’s Tris- 2005. Wyatt presented lectures and per- tion of “Grasnick 5,” a sketchbook that tan und Isolde: Wagner’s Opera Filtered formances of his compositions as a fea- Beethoven devoted almost entirely to ideas Through Modern Technology and Critical tured guest artist at for the “Agnus Dei” movement. The end Perspectives.” Her long-standing research during February and at Illinois Wesleyan goal of the research is to publish a facsimi- on Wagner production history is featured University in March 2005. In April, he le, transcription, and commentary about in A Companion to Wagner’s ‘Parsifal’ organized a UIUC graduate student guest “Grasnick 5,” with a view to advancing (Camden House Press) that appeared in artist concert and road trip to Southern Illi- our knowledge about Beethoven’s composi- July of 2005. Another of her chapters in nois University with graduate composition tional process and, specifically, about how this volume, of which she is co-editor, con- students presenting recent works from the Beethoven’s musical and philosophical cerns Wagner’s musical language and his University of Illinois Experimental Music ideas concerning the Mass form itself special handling of “unseen” voices. This Studios to the SIU campus. UIUC student came to the unique focus in the final ver- November, Syer lectured on recent Wagn- composers included Kyong Mee Choi, sion of the Missa solemnis. Stoltzfus was er stagings—Robert Wilson’s Parsifal in Bradley Decker, John Ritz, David Psenicka, also active as a performer during his sab- particular—for the Northern California Anthony Jay Ptak, Michael Drews, and Ed batical giving master classes and clinics, Wagner Society, as well as on the produc- Martin. Prof. Wyatt was a featured guest and was invited to guest conduct at the tion history of Fidelio for the guild network artist at the University of Oregon School of gala 25th Anniversary Concert of the of the . Music November 17–20, 2005, and is Orpheus Singers in Montréal. currently at work on a new composition Sever Tipei recognizing the 20th anniversary of the Sylvia Stone (voice) (composition-theory) nuclear accident. spent the month of presented a paper at June in Urbania, Italy, the 2005 International Ann Yeung (harp) as director of Il Corso Computer Music Con- premiered interactive per Giovani Cantanti ference in Barcelona, electro-acoustic works Lirici, a four-week pro- Spain, written with for harp by Michael gram offering aspiring Hans G. Kaper, Alcorn (Queen’s Uni- young opera singers Adjunct Professor in Composition-Theory, versity, Belfast; Direc- vocal and dramatic study with an interna- on DISSCO, an integrated software for tor, Sonic Arts tional faculty and an intensive Italian lan- composition and sound synthesis. DISSCO Research Centre) and guage course, culminating in public was developed at the Computer Music Pro- Stephen Andrew Taylor (UIUC) at the Ninth performances in the area. July 23, 2005, ject of the UIUC Experimental Music Stu- World Harp Congress held in Dublin, Ire- she adjudicated the Schloss Leopoldskron dios and was released recently on land in July 2005. She also was a panelist Competition for Singers in Salzburg, Aus- SourceForge.net, an important and useful at the Congress on “The Contemporary tria. In July and August, she taught voice in website devoted to hosting tens of thou- Harpist.” Her article “Edits to Henriette Salzburg at the Austrian-American-Mozart- sands of open source software projects. Renié’s Contemplation” was published in Academy, a comprehensive summer pro- Two new works realized by Tipei with the Winter 2004 issue of the American gram offering singers the opportunity to DISSCO will be released in 2006 on a Harp Journal. In August 2005, she per- perform an opera role with orchestra. This CENTAUR compact disk with music by formed a chamber recital on the Clas- summer two operas, Così fan tutte and Der Zack Browning and Sever Tipei. sicFest 2005 concert series in Pensacola, Zigeunerbaron, were produced. Florida. She will be a featured performer, Scott A. Wyatt as part of a Pacific Harp Duo with Kyo-Jin w (composition) applied Lee, at the American Harp Society Nation- i research in positional al Conference to be held in San Francisco n three-dimensional in July 2006. t e audio imaging for sur- r round sound in audio format to his recent 2 0 electroacoustic work 0 6 27 Faculty Profile IT’S ROCKET JAZZ

s o n o r i t i e s 28 NOT SCIENCE ENGINEER By Anne Mischakoff Heiles DANA HALL

When Dana Hall joined the faculty in August 2004 to teach applied music (including small jazz ensem- bles) and courses in jazz history and listening, he was endorsing a decision he had made years earli- Eschewing aerospace propulsion, er to give up his promising career he nevertheless has had a meteoric as an aerospace engineer. Hall career as a jazz musician, playing had initially worked at Boeing, as drums in more than a dozen an intern, while he completed his groups that have backed up such engineering degree, helping to stellar musicians as , design propulsion systems and Woody Herman, , develop advanced composite , , materials. He was involved in the , Jon Faddis, and preliminary development of the other, younger, jazz artists. As Boeing 777 (the “triple-7,” as he SOM Director Karl Kramer quips, calls it) aircraft. Hall has gone from making “rock- ets to rackets.” Hall’s energies have more recently encompassed ethnomusicology as well. He hopes very soon to complete a Ph.D. at the University of Chicago w and then go into teaching courses i in ethnomusicology, as well n t e continued... r 2 0 0 6

Photos: Chris Brown Photography 29 Faculty Profile

“IN JAZZ THE PROOF IS IN THE PUDDING, AND I WAS FORTUNATE THAT I HAD JUST ENOUGH PREPARATION WHEN THOSE MUSICIANS HEARD ME THAT I WAS ABLE TO GET MY FOOT IN THE DOOR TO PLAY WITH THEM.”

as jazz studies. “I’ve taught Introduction to Hall began studying drums in junior worked from 7:30 a.m. till 4:30 p.m., and World Music courses at the University of high school, “primarily during the march- would play jobs in the evenings.” The Chicago, and have designed some courses ing season,” although during most of the schedule was tiring, and he knew he associated with my dissertation research year his main instrument was the oboe. would have to choose between the two. materials and other areas of interest.” Hall “My mother’s sister is an oboist. She’s the He had been ruminating about a con- has worked under Philip Bohlman at the only one in the family besides me who can versation with trumpeter Wynton Marsalis, University of Chicago, a professor who play any music other than the radio, so I who had performed at C. Y. Stevens Audi- studied at UI under torium in Ames, Iowa: “I Bruno Nettl. “A lot of told him about my dilem- Bohlman’s thoughts and ma: ‘I’m double-major- ideas grew from seeds ing in music and planted here, so in engineering, and I really coming here, I’m like engineering, but I almost completing the love music. What should circle.” I do?’ He said, ‘Well, Although his plunge not everybody has the from the skies to drum ability or the desire to sets may seem abrupt, be an artist. The world music has in fact been needs artists. The world central in his life from needs art to enrich what- childhood. Born in ever people do with the , Hall moved rest of their lives. They with his family to might be doctors, Philadelphia when he lawyers, or engineers, was four years old. and not have the ability “I’m the fifth generation to be a musician, [of musicians] and painter, or sculptor. So knew several genera- they seek inspiration in tions of grandparents those arts. You owe it to and a large extended society to pursue that if family. My formative you have it in your heart years were spent in and have the ability to Philadelphia and south- do it.’” ern New Jersey. I’m the Having made his pioneer of the family,” decision, Hall left Boe- he laughs, “the only ing and earned a one who lived west of degree in jazz perform- Pittsburgh!” Explaining ance at William Pater- how integral a part of son College in New Dana Hall, with graduate student Josh Hunt, has never regretted leaving engineering: “I feel this is my calling; this is what I his family’s life jazz have to offer society.” Hall has been on the UIUC faculty since August 2004. Jersey. “I’ve never music has been, he regretted leaving engi- says, “We had close associations with a guess I got some of my music desire from neering. I feel this is my calling; this is vital music community in Philadelphia her.” As he played drums during the high what I have to offer to society.” and New York, and members of my fami- school marching season and for stage Living near New York offered Hall ly were friends or associates of lots of band, however, he “started to develop a ready connections to a host of jazz musi- s musicians: Jimmy Smith and Lee Morgan, bit of technique.” He attended Iowa State cians. “In jazz the proof is in the pudding, o n and a long list of talented musicians in University in Ames as a double major in and I was fortunate that I had just enough o Philly.” Many of the musicians visited his classical percussion and aerospace engi- preparation when those musicians heard r i family’s home. neering. His training as an aerospace me that I was able to get my foot in the t engineer led to employment at Boeing. “I door to play with them. Those situations i provided me opportunities to grow.” e s 30 “IT WOULD BE A DISSERVICE TO THE STUDENTS FOR ME TO NOT CONTINUE TO PERFORM AT A HIGH LEVEL AND TO SEEK OUT MUSICAL CHALLENGES, SO I’M AN ACTIVE MUSICIAN.”

As he proved his ability on gigs, Hall Having idolized Ray Charles, Betty ing. She gets so excited about what she’s had more and more opportunities to play Carter, and Joe Henderson for years, Hall doing that it transports you into another with some of the greats in the world of suddenly found himself on the bandstand place.” jazz. He was impressed especially by their with them: “I have a certain reverence for Since joining the UI faculty, Dana Hall competence, confidence, individuality, and what they accomplished as musicians. But has continued to perform and record with open-mindedness. “They each bring differ- in order not to get too nerved out about it, Terrill Stafford’s ensemble (e.g., on Labor ent things to the table,” he says, “but they I have to feel that I belong and that they Day 2005 in Philadelphia). Stafford all definitely have a special level of profes- called me for what I do. I picked up from employs newer rhythms and harmonic sionalism and confidence with their instru- Joe Henderson that I really needed to have concepts. Hall says, “It’s always fresh ments and with what they’re doing. working with him. We do a lot of things Branford Marsalis, Jon Faddis, Terrell that are interesting and adventurous, and Stafford, and Josh Redman: they’re all spe- he allows me to bring different rhythmic cific about what they want to accomplish ideas to the table. It’s not so much that the and how I might fit in with that. They’re other [older] musicians are set in their open about different ideas—and how I ways but that their playing is rooted in tra- approach music. It’s engaging and excit- dition, whereas younger musicians, ing. Sometimes there might be some dia- because they have been exposed to so logue about it, but generally the music is many types of music, are wide open to our language, and we don’t have to talk; anything that might happen.” we just do it. We may need to tweak it As a UI faculty member, Hall considers and talk about that, but otherwise we just performing an important part of his work. dive right in.” “It would be a disservice to the students for Hall has played in both large and small me to not continue to perform at a high ensembles. With Ray Charles he played at level and to seek out musical challenges, festivals in Europe: “The biggest was at the so I’m an active musician.” He hopes to North Sea Jazz Festival in the Hague in play more in the Champaign-Urbana area Holland. Playing with him was great. He as well. was particularly hard on drummers. I “I coach a sextet with saxophone, trom- heard that he apologize in a magazine to bone, trumpet, piano, bass, and drums. all the drummers he had ever played with. And I work in private lessons with younger

Because of the way he communicated Photo: Robert K. O’Daniell/News-Gazette jazz students in developing their technique musically, the drums were the heartbeat; The Dana Hall Jazz Combo is made up of students Mike Jones, and repertoire. In the Jazz Listening trumpet; Dave Dickey, trombone; Carlos Vega, tenor saxophone; they had to be correct all the time. He had Chris Reyman, piano; Chris Nolte, bass; and Joshua Hunt, drums. course, I combine style, analysis, and a unique way of feeling rhythm. He was understanding the fundamentals of jazz to really the fountainhead for a particular confidence in what I do. He made me feel help students listen more critically,” Hall genre and style of music; he mastered a liberated to just do what I do and not feel elaborates. way of playing . It was challeng- that I had to play like some other musi- As a professor, he combines his per- ing and rewarding to play with him.” cian. He said, ‘Don’t play like (and he forming knowledge with his studies in Betty Carter, he recalls, “was another named off a few drummers: , ethnomusicology to brew a rich mix for stu- challenging musician to play with. She Pete La Roca, or Al Foster). Just play how dents: “I teach a jazz history course that’s had a clear idea of what she wanted, you play.’” somewhat chronological, but I like to throw especially from the drummer, and was Maria Schneider impressed Hall with a few monkey wrenches in there, thinking demanding. That’s the only way to grow— her intensity and vivacity. “The first time I as an ethnomusicologist. It’s interdiscipli- when someone places demands on you worked with her was when she conducted nary; I’m concerned with places of w and asks for something that you may not the music of Gill Evans at Carnegie Hall. encounter and relationships that are socio- i know you have within. The best leaders She is focused about what she wants from logical.” n and best musicians have tapped into some- us musicians and has an infectious vision In creating an interdisciplinary t thing they heard in my playing that I may of music. She’s a painter through her com- approach, Hall likes to highlight the “inter- e r not have been wise to yet.” posing and arranging. Your color lies with- sections” that music makes with society, in her color scheme and power, and she politics, and culture. “I’m concerned with 2 0 makes you feel a part of something excit- 0 6 31 Faculty Profile

“NOT ALL GOOD PLAYERS CAN TEACH, BUT I BELIEVE ALL GOOD TEACHERS SHOULD BE GOOD PLAYERS. WE’RE BLESSED HERE WITH GOOD PLAYERS AND GOOD EDUCATORS, AND WE CAN TRY TO INSTILL THAT COMBINATION IN OUR STUDENTS.”

negotiating that terrain also as a per- Hall plays a drum set, although he ciency on mallet instruments. They should former, in the way I play and the situations sometimes augments it with wood block, also take some piano lessons to get a and material. In Iowa, for example, I cow bell, or, more rarely, African or Mid- sense of how drums work within the har- played in both a heavy-metal rock band dle Eastern hand drums. His approach to monic context of an ensemble. The way and the Cedar Rapids Symphony in a performing is broad: “When I think about you can change the texture on the drums, region and at a time, during the mid- playing, it’s not playing the drums but just based on the harmony that you’re 1980s, when one did not associate a playing music on the drums. The drums in hearing in the ensemble, adds to your black man playing that style with convic- and of themselves can carry the load, cer- engagement with the music.” tion; it must have seemed anomalous to tainly, but I think about what I’m doing With more advanced university students, many people there. I saw those experi- with the music with other people,” he Hall adds, “The most important advice that ences as essential explains. “Music I can give young performers is to be pre- to my growth as a for me is about pared. When opportunities come knocking, musician and knew the social interac- be prepared to answer the call. That level that I owed it to tion and the of preparation means having a practice the other musicians engagement with routine and working on things that you and the audience other musicians. don’t know. We tend to practice things we to play as effective- I’m talking about know because it’s easy to do and builds ly as I could. Look- applying tech- the ego and confidence. The best way to ing back, I think niques within a prepare for musical situations, however, is about how few group of other to constantly be challenging yourself.” black models or musicians.” Hall is happily attuned to the jazz divi- mentors there were This past year sion’s goals at UI: “All of us are trying to at that critical time Hall has been raise the bar, in terms of preparing the stu- in my musical working with pre- dents for the outside world, making them development. I still college percussion better readers and performers, broadening enjoy questioning students, and his the scope of their thinking about jazz, the preconceived teaching both at expanding their repertoire and knowledge notions and cultur- the university level of the literature, and making them better ally engrained and with younger improvisers and composers. Those are cer- boundaries that we students makes tainly my goals: to make them more critical have established in him a natural and better informed listeners, ultimately to our society.” advisor for how make them better educators. Not all good Hall’s studies of players might bet- players can teach, but I believe all good North and West ter develop their teachers should be good players. We’re African music have skills for profes- blessed here with good players and good inspired him to infuse his performances sional studies. “There are certain funda- educators, and we can try to instill that with a fresh repertoire of rhythm. He has mentals that all drummers need. The combination in our students. What draws dipped into different improvisational sys- rudiments are the foundation of what we us to get up every day and do what we’re tems he has studied: for example, raga do on the instrument, and to have a dia- doing? It’s also important to have a sense (melodic) and tal (rhythmic) elements from logue with other musicians, you have to of our calling and what we do and be northern-Indian, or Hindustani, improvisa- know the language. The syntax of our lan- able to articulate that to others.” tional music from the southern-Indian Car- guage is the 26 standard rudiments (more Married less than a year, Hall is enthusi- natic tradition, Middle Eastern maqam; than 50 when you include the Swiss rudi- astic about settling in Urbana. “This is a and the rhythmic and ensemble practices ments). Young jazz drummers should really great School of Music, and we have a great in North and West Africa. “More recently I know and be able to execute those rudi- deal of support from the Director’s office. I’m s have been obsessed with bhangra, the ments—cleanly and in a variety of tempi. excited about what we do here and the stu- o n harvest music of the Punjab region in They should have an understanding of dents we work with. I’m excited about the o India, and the youth music of diasporic rhythm. They should develop an ability to academic side and the work I do as an eth- r i South Asians in the U.K.” tune the . All drummers should nomusicologist. I feel enriched as a scholar, t expose themselves to and develop profi- an academic, and as a musician.” i e s 32 Student News A SELECTION OF RECENT ACCOMPLISHMENTS

Suzanne Hassler, alumni relations and development

Chadley Ballantyne, a baritone work- tion Completion Fellowship for his disserta- Jennifer Fraser, a Ph.D. student of ing toward his D.M.A. degree in Vocal tion work on 20th-century American com- Charles Capwell in ethnomusicology, read Performance under Professor Sylvia Stone, poser Morton Feldman. a paper about her dissertation research in was a soloist in Josef Haydn’s Creation Indonesia at the 50th anniversary meeting with the Prairie Ensemble in May 2005. In Renée Clark, a Ph.D. candidate in musi- of the Society for Ethnomusicology on July, he sang the role of Truffaldino in sev- cology, is in her third year as visiting November 18, 2005. eral performances of Ariadne aux Naxos instructor at Hillsdale College in Hillsdale, with the Union Avenue Opera Theater Michigan. Renée is a student of John Hill. Ryan Haynes, a graduate student in Company in St. Louis. Chadley also ethnomusicology under Professor Donna appeared with St. Martin’s Chamber Bradley Decker and Ed Martin were Buchanan, received a 2005-06 Foreign Singers in Peoria, singing Figaro in Le two of four national finalists for the 2005 Language & Area Studies (FLAS) Fellow- Nozze de Figaro in April 2005. ASCAP/SEAMUS National Student Com- ship for Serbian and Croatian language position Commission Award, with Ed studies. Keturah Bixby, a junior in harp per- Martin winning 2nd prize in the national formance in the studio of Ann Yeung, was competition. Gregory Hellenbrand, a Ph.D. candi- a winner of the UIUC Thomas J. Smith date in musicology, has received a one- Scholarship Auditions. In August 2005, Mary Ferris, a junior trombone perform- year appointment as visiting instructor at she attended the MusicAlp Festival in ance major in the studio of Professor Elliot the University of Wisconsin at Eau Claire. Courchevel, France. Chasanov, was the winner of the 2005 Greg is a student of John Hill. Armstrong Award for Excellence in Under- Bradford Blackburn, Minsoo Cho, graduate Performance. She performed the Eduardo Herrera, second year Ph.D. Kyong Mee Choi, Bradley Decker, Larsson Concertino with the UI Philharmo- student in musicology under Gayle Sher- Ivan Elezovic, Timothy Ernest John- nia this fall as part of the award. Mary wood Magee, conducted research in son, Ed Martin, David Psenicka, was also recipient of the 2005 Robert Buenos Aires and Montevideo during sum- Anthony Jay Ptak, and Jake Run- Gray Award and a Brass Division Achieve- mer 2005 with the support of a Tinker dall in the Experimental Music Studios of ment Award. Field Research Award. the University of Illinois at Urbana-Cham- paign, are included on the new compact Stefan Fiol, a graduate student in musi- Chen-Yu Huang, a first year master’s disc recording Wavefields. Organized and cology, returned recently from dissertation degree student in the harp studio of Ann engineered by Professor Scott Wyatt, the fieldwork on regional music in Uttaranchal, Yeung, performed with the Chi-Mei CD features recently completed works by India. His doctoral research in North India Orchestra in Taipei, Taiwan prior to com- UIUC graduate composition students. Fund- was sponsored by Fulbright and Wenner- ing to UIUC this fall. ing for the recording was provided by the Gren Foundation fellowships. An advisee University of Illinois College of Fine and of Dr. Charles Capwell, Stefan has been Erik Horak-Hult, a Ph.D. student in Applied Arts, the School of Music, individ- invited by the South Asia Council of the musicology, received the Presser Founda- ual composers on the recording, and by Association for Asian Studies to present a tion Graduate Award in support of his dis- UIUC Student Organization Resource Fee paper on his research at the annual meet- sertation research conducted in summer (SORF) funds. 600 of the new CDs will be ing of the Association to be held in San 2005 in France, Germany, and Austria on mailed to select colleges, universities, per- Francisco in April 2006. Most recently, he Beethoven’s opera Fidelio. forming arts, and new music centers was also awarded another year of support around the world. for his dissertation project by the American Trent Jacobs, a master’s degree student Institute of Indian Studies. This spring in instrumental performance, won two w semester he will be a lecturer at Notre orchestra positions this season: Second i Brett Boutwell, a Ph.D. candidate in n musicology and student of Dr. David Patter- Dame University. Bassoon in the Danville Symphony Orches- t son, received a Graduate College Disserta- tra and Second Bassoon in Champaign- e Urbana’s Prairie Ensemble. r 2 0 0 6 33 Student News

Elizabeth Jaxon, undergraduate student Tzu-Feng Liu, a D.M.A. candidate in in November 2005. Megan will compete in harp, won Fourth Prize in the Advanced piano performance with Professor William in the MET Regional Finals to be held in Division of the American Harp Society’s Heiles, and Eun-Young Yang, a 2005 Atlanta in February 2006. National Solo Competition in June 2005. D.M.A. recipient in vocal performance from In July, she performed in a master class at the studio of Jerold Sienna, gave joint David McDonald, a student of Donna the Ninth World Harp Congress in Dublin, recitals at Nova Hall, Tsukuba, Japan; Buchanan in the Ph.D. program in musicol- Ireland, and in August, Elizabeth attended Hsinchu Science Park Auditorium, Hsinchu, ogy, received an Illinois Program for the MusicAlp Festival in Courchevel, Taiwan; and KNFC Hanmaum Auditorium, Research in the Humanities (IPRH) Gradu- France. Daejeon, Korea during August 2005. In ate Student Fellowship and a Dissertation December 2005 Ms. Liu will premier a Completion Grant from the Graduate Col- Joseph Jones, a musicology master’s piano solo work by composer Chia-Lin Pan. lege for his study of music and nationalism degree student, received the 2005 Jill among Palestinian refugees in Jordan and McAllister Award for Studies in Opera in Ieng-Ieng Lam, a D.M.A. candidate in Palestine. His research is based on two support of his research on Der Rosenkava- piano performance, performed the Ravel years’ ethnographic field work in the Mid- lier by Richard Strauss. Piano Concerto in G Major with the dle East. David read a paper about his Macau Orchestra on its Flourishing Arts dissertation research at the 50th anniver- Joonhee Kim, a doctoral candidate in concert series in July 2005, as well as the sary meeting of the Society for Ethnomusic- piano performance, was invited to present Chopin Piano Concerto No. 1 in a concert ology on November 17, 2005. a recital on December 23, 2005 at Young- with the Macau Youth Orchestra. San Art Hall in Korea. Joonhee, whose Tracy M. Parish, a D.M.A. student of teacher is Timothy Ehlen, was also award- Nicole Leupp, a soprano and doctoral Michael Ewald and Ronald Romm in Trum- ed a prize in the Los Angeles International student in vocal performance, newly pet Performance and Literature, was Piano Competition in November 2004. arrived on the UIUC campus this fall, flew awarded the Buckeye Emerging Artist to the in early September Award from the Akron Summer Music Festi- Natasha Kipp, a Ph.D. student in musi- to sing at Durham Cathedral. Nicole is a val where he performed as a featured cology, received a 2005-06 American student of Sylvia Stone. artist in July 2005. Tracy also won a seat Councils for International Education this season with the Champaign-Urbana ACTR/ACCELS Research Scholar Fellow- Bomi Lim placed in two competitions dur- Symphony. ship to pursue nine months of dissertation ing the spring of 2005: the Society of research in Baku, Azerbaijan. American Musicians Competition in Chica- Katrina Phillips, a graduate student go in April (honorable mention), and the clarinetist and winner of the UI Student Kiel Lauer, a freshman bass trombonist Eleventh Biennial International Beethoven Concerto Competition, performed the Clar- from the studio of Professor Elliot Sonata Competition in Memphis in May inet Concerto, Op. 57, by Carl Nielsen Chasanov, was selected as a finalist in the (fifth place). Bomi Lim is a M.M. candi- with the UI Symphony Orchestra conduct- 2005 Eastern Trombone Workshop Bass date in piano performance and pedagogy, ed by Donald Schleicher on November 9, Trombone Solo Competition. and a student of Profs. William Heiles and 2005. Reid Alexander. Sonia Lee, who is pursing a double doc- Dewayne Pinkney, a senior in bassoon toral degree in musicology with John Hill Charles Lynch, a doctoral student in performance, won a position with Sinfonia and harpsichord with Charlotte Mattax, harp, is featured on the recently released da Camera, the resident orchestra of the gave two solo recitals and performed in benefit CD Help Is On the Way for Hope- UIUC Krannert Center for the Performing seven concerts as basso continuo player ful Heart, Inc. with theatre organist Lyn Arts. with Musicerend Gezelschap and La Larsen. Hopeful Heart, Inc. is an Arizona Donna Musicale at the Boston Early Music based not-for-profit corporation set up to Antoinette Pomata performed in the Festival and the Society for Historically give a little extra “helping hand” to musi- 2005 Piccolo Spoleto Festival in Informed Performance Early Music Summer cians, writers, artists, dancers, and other Charleston, South Carolina, prior to com- Concert Series in June and July 2005. members of the arts community who are ing to UIUC this fall. Antoinette is a fresh- Reviews of her performances from this sum- facing medical difficulties and challenges. man in violin performance in the studio of mer can be found in the Early Music Amer- Sherban Lupu. ica Magazine and the Boston Beacon Hill Megan McCauley, a D.M.A. candidate s o Times. Sonia will also participate in the in voice and student of Professor Jerold Marie Rivers, a graduate student of n world premiere CD recording of The Seven Siena, was declared winner of the Caroli- William Kinderman in the Ph.D. program o r Psalms of David, Vol. II by Antonia Bembo na District Auditions in musicology, published an article in the i with La Donna Musicale. Summer 2005 issue of Arietta on t i “, Gustav Nottebohm, e s 34 and Beethoven’s ‘Hammerklavier’ Sonata,” and read a paper on this topic on October 28th at the National Annual Meeting of IN SUPPORT OF the American Musicological Society in Washington DC. THE SCHOOL OF MUSIC

Hio Teng (Harriet) Wong, a junior in This gift is from Mr. Mrs. Miss Ms. Mr. & Mrs. the piano studio of Dr. William Heiles, traveled to Macau S.A.R. (China) to per- Name form the second and third movements of the Schumann Piano Concerto with the Maiden name (if appropriate) Macau Orchestra on their Flourishing Arts Concert Series in July 2005. Address

City Kydalla E. Young, a Ph.D. student in musicology, received a 2005-06 Fulbright State Zip Fellowship to conduct research abroad in Peru. His topic is “Music in Confraternities Phone in Colonial Peru.” Kydalla is a student of John Hill. Business name

The U of I Concert Jazz Band, the Business address school’s top jazz combo, performed at the North Texas Jazz Festival in April 2005, City winning the prestigious “Gene Hall” award for top big band. State Zip

Business phone In summer 2005, at the Palmarès du 32e Concours International de Musique et d’Art E-mail Sonore Electroacoustiques de Bourges, France, Ivan Elezovic’s composition I/We have enclosed a gift of Mediterranean-Riots-Colors was awarded the Degré I - RESIDENCE Prix. Bradley $50 $100 $500 $1000 other $ Decker’s composition Montage and for: School of Music (32905) John Ritz’s composition In the Very Eye Other of Night were awarded Honorable Men- tions in the oeuvre d’esthétique formelle I have enclosed my employer’s matching gift form. category, and Kyong Mee Choi’s com- I/We authorize the U of I Foundation to collect my gift of position Tranquility was awarded Honor- $ able Mention in the oeuvre d’esthétique à through the credit card checked. programme category. MasterCard Visa American Express Discover

Card # Three singers from the UIUC School of Music were winners in the Met National Expiration date: Council’s Central Illinois District auditions held on the UIUC campus on October 23. They are Desirée Hassler, from the studio Signature (required) of Professor Jerold Siena, and Eun-Jung Auh and Raquel Adorno, from the stu- Please make your check payable to: UIF/School of Music w dio of Professor Cynthia Haymon-Coleman. Send to: i The three winners moved on to the regional University of Illinois Foundation n t finals in Chicago on November 6. P.O. Box 3429 Champaign, IL 61826-9916 e r Congratulations to our many outstand- To make a gift, please go to: www.faa.uiuc.edu/support_faa/gift.html 5M 9HH ing performers and teachers! 2 0 0 6 35 Alumni Profile

FOUR VIOLINISTS TALK ABOUT THEIR CAREERS

From the experiences of UI alumni gifts, and hard work guarantee that instrumental devisions. And cellist violinists James Cooke, David a violinist can share the trajectory Gabriel Magyar—I loved him; he Halen, Lucia Lin, and Ioana Mis- their careers have taken. But they was such a major musical influence sits, one might surmise that the agree that for them the University for me. I remember amazing cham- secret to a fast-track career in a worked. ber music coachings with him,” major symphony lies in getting a “UI is a terrific music school. I recalls Lin. fine university education. Lin and remember very well my orchestral Cooke are members of the Boston training with Paul Vermel, collabo- Symphony Orchestra (BSO), Mis- rations with wonderful pianists, and sits of the Cleveland Orchestra, and inspiring performances by both fac- Halen is concertmaster of the St. ulty and my peers in the vocal and Louis Symphony Orchestra. All of them won these positions early in their careers. Talent and lots of practice figured into the equation, of course, and they don’t pretend that even education, outstanding

A native of Urbana, Lucia Lin co-concertmaster of the London Symphony David Halen began violin began violin lessons with UI Pro- (1994–96). She appears frequently in studies with his mother, a mem- fessor Paul Rolland when she chamber music recitals as well. ber of the Kansas City Philhar- was about four years old. At monic, and continued lessons eleven, she made her debut as soloist with James Cooke was born in with his father, a professor at Central Mis- the Chicago Symphony, performing the Louisville but raised in St. Louis, souri State University, where David earned Mendelssohn Violin Concerto. She earned where he began violin in the his bachelor’s degree. At nineteen he won a bachelor’s degree at UI and master’s at public schools and then studied a Fulbright Scholarship, “on a lark,” to Rice University and was a student of Pro- with Gladys Lang. At UI he earned a bach- study at the Freiburg Hochschule für Musik. fessor Sergiu Luca at both institutions. elor’s degree in 1979 as a student of Paul Like his brother Eric, who is now acting Soon afterward she won an audition for Rolland and, after Rolland’s death, began concertmaster of the Houston Symphony, the Boston Symphony on her first try, join- work toward a master’s degree, studying David attended UI, studying with Sergiu ing the orchestra in 1985. In 1990 she with Teddy Arm. He continued his master’s Luca. After a year as violinist in the Har- s was a winner in the International degree at Boston University, studying first rington String Quartet in Amarillo, Texas, o Tchaikovsky Competition in Moscow. Lin with concertmaster Joseph Silverstein and Halen won an audition for the Houston n o has served as an assistant concertmaster then Denes Zsigmondy, and getting addi- Symphony, where he gradually moved up r of the Boston Symphony (1988–91, tional lessons with concertmaster Malcolm to third chair and assistant concertmaster i 1996–98), as acting concertmaster of the Lowe to prepare for auditions. Cooke won before being hired by the St. Louis Sym- t i Milwaukee Symphony (1991–92), and as the Boston Symphony audition in 1987. phony as its associate concertmaster in e s 36 IN THE SYMPHONY

BY ANNE MISCHAKOFF HEILES

1991. During 1993 to 1995 he was acting has won prizes in the Cittá di Stresa, Paul wanted me to buy me Hush Puppies for concertmaster, becoming official concertmas- Rolland, Joseph Gingold, and Romanian my concert shoes because they were bet- ter in 1995. For nearly a decade Halen has National Violin competitions. ter for the feet. Fortunately, my mother also been concertmaster of the Aspen Festival intervened! I began studying with Profes- Orchestra and Aspen Chamber Orchestra. Here’s what the four had to say on a vari- sor Sergiu Luca when I was a senior in ety of topics. high school, and continued through my Born in Rumania, Ioana Missits master’s degree. A brilliant musician, he began her violin studies at a state- EARLY STUDIES AND TEACHERS taught me a tremendous amount about run music school. She came to the Lin: I began with Paul Rolland when I interpreting a piece of music, not just from United States when she was nine- was five and continued studying with him an intellectual standpoint but also an emo- teen as an undergraduate at Bowling Green until his death, when I was seventeen. I tional one. He has many interests that he State University, continuing at UI, beginning received the fundamentals of my technique is passionate about, and studies them until in 1996, a master’s degree and course work he is an expert on them. An example is w from those lessons and was fortunate, as i toward a D.M.A. She studied with Professor his was a very natural approach to the his passion for Chinese food; he can n Sherban Lupu. After freelancing for a year in violin. Mr. Rolland was like a second order in Chinese and can cook wonderful- t Detroit (where she was an extra for the father to me. I remember he took me shoe ly in Chinese style. That kind of enthusi- e Detroit Symphony), she joined the Pittsburgh shopping in Atlanta the day before a con- asm has been inspiring to me. r Symphony for one year and, since fall 2000, certo performance; I think I was 13. He 2 has been with the Cleveland Orchestra. She continued... 0 0 6 37 Alumni Profile

“Levine’s beat is understated; “Constantly ask yourself,

he wants the musicians to find the ‘Am I producing a beautiful sound?

music and the energy from with themselves.” A full sound? Am I relaxed while I’m doing it?’”

Cooke: Gladys Lang, with whom I had teacher there, cellist Gabriel Magyar, Cooke: I had always wanted to be in an private lessons as a youth, gave me the whom we all studied with in chamber orchestra, and I told Joey Silverstein that I sense that it’s possible to enjoy life and music. would be happy to be in a nice midlevel find fun and inspiration into adulthood; orchestra; that would be just fine. I made it she had that spark that communicates well Missits: In Romania the system is very to the BSO and have to laugh now when I to teenagers, who want to see that adults competitive, based on a series of regular recall that. are not weighed down with just making it exams, and we practiced a lot and each It’s important to know what an audition through each day. She had known Profes- had two hour-long lessons a week. I met committee listens for; these things are mys- sor Paul Rolland; he was the main reason I Sherban Lupu through my husband, then teries to most people. Auditioning is a went to UI (my Dad received a doctorate my boyfriend at Bowling Green, who was hard skill for most people, and making an there in chemistry and I liked the campus in the graduate program at UI. Mr. Lupu audition tape is a completely different skill when I first visited). Rolland understood was very good for me, helping me with from taking a “live” audition. You have to psychology and recognized that college my playing in solo repertoire. exercise patience, sitting down and listen- students want a more professional training. ing to playbacks, and deciding “that one He had responsibilities and the students CHAMBER MUSIC THEN AND just won’t do.” You have to hear exactly had responsibilities; his teaching at the NOW where something hasn’t caught the flavor University was more at arm’s length than Lin: Chamber music has long been an of the excerpt. A tape is so much more of with younger students, like Lucia Lin. I also important part of my musical life. About a microscope. In the BSO when we listen studied viola with Guillermo Perich, and eight years ago, I joined the Muir String to auditions, we want to hear that a player worked with Gabriel Magyar in chamber Quartet, which is in residence at Boston knows the piece, that the individual is music, a really good experience. I enjoyed University where we teach and perform. I aware of how it would sound—its expres- the chamber music program a lot there. also formed a group, Innuendo, with some sion—when an entire orchestra plays that Joe Silverstein, Denes Zsigmondy, and of my closest friends, who have enjoyed excerpt. It’s so easy in practicing an Malcolm Lowe in Boston helped me a lot playing and socializing with each other for excerpt to get into a sterile, metronomic in very different ways. When you study more than 12 years now. manner of playing. The committee listens with multiple teachers, it’s something like for an individual’s awareness of style and the glass being half full or half empty: You Cooke: Chamber music is one of the knowledge of the excerpt as a piece of have to concentrate on what is positive in things I was blessed with at UI with music. You have to know what parts the every situation. If you try to look for the Gabriel Magyar, who had played in the committee will listen to for rhythmic stabili- warts, you’ll find them, but if you can take Hungarian Quartet, and at BU (Boston Uni- ty and what parts for a singing style. something positive from each of the teach- versity) with Eugene Lehner, who had ers that you have, eventually you’ll end up played in the . Chamber Missits: I played in smaller orchestras in with a synthesis that works for you. It can music experience at the college level is the Detroit area to get started, and subbed be a greater richness than if you had stud- extremely important—learning how to play for the Detroit Symphony, which sounded ied with just one teacher for a long time. with other people and gaining personal amazingly good. When I prepared for the skills. I played in the Boston Composers Pittsburgh and Cleveland auditions, I Halen: By testing out of classes, I graduat- String Quartet until the birth of our daugh- worked on the excerpts for a long time, ed early and had the luxury of studying in ter. I still participate in chamber music with really dissecting them to figure out how to Europe on a Fulbright scholarship when I other BSO members. play those kinds of parts alone. The audi- was nineteen. It took me from a small town tion repertoire for the Cleveland Orchestra in Missouri and plopped me down in the ORCHESTRA AUDITIONS AND was larger than for Pittsburgh. Cleveland is middle of Europe, giving me a completely EXCERPTS the only major orchestra, I think, that has different view. My brother Eric was study- no screen; the audition was in front of the Lin: (on getting into the BSO at her first ing violin at UI with Sergiu Luca and spoke committee. I got into the Detroit Symphony audition) In many ways, it helps to have so highly of him that I applied for gradu- in January 2000, but won the Cleveland ignorance on your side when you take an s ate school in Urbana. There was a won- audition four months later. audition! It’s much harder when you know o derful class of students at that time, one of n what you’re getting into and start to psych o whom was Lucia Lin, a good friend. We Halen: I was visiting my friend, Lucie Lin, it out. r all learned a lot from each other as well as who was taking an orchestra excerpt class i t from Sergiu. And there was a great at Rice; I would play the excerpts for her, i and she would relate what she had e s 38 “The main thing is to “I worked on the excerpts for

let the character of the music a long time, really dissecting them to

carry you through any audition.” figure out how to play those kinds of parts alone.”

learned in her class about them. There’s no want to end up.” Of course, I didn’t think of his commitment to ’s music, such thing as too much preparation when that would ever happen. But it has hap- but it’s good to be challenged: it sharpens you audition. The main thing is to let the pened, and that is why I’m going to stay your skills. Levine has a vocal approach to character of the music carry you through here for as long as I can. music making. He tells you that he likes the any audition. Assuming that people’s tech- string sound relaxed but full, and with a lot nical stuff is really in order, that’s the Cooke: If you can’t learn how to play effi- of repertoire he wants a soloistic approach answer. Accuracy is never moving enough; ciently and with relaxation, you’re going from the section, as if the expression is it’s really about the music. The winners of to have problems in an orchestra because generated from each player. You have to auditions play at the level of our soloists, there’s just so much repertoire. You have to constantly ask yourself, ‘Am I producing a at least on their audition day. That’s the be able to get the most out of the least beautiful sound? A full sound? Am I one day you want to play as well as Perl- amount of effort. Yet efficiency cannot be relaxed while I’m doing it? man at his very best. the be-all-end-all. When I joined the BSO, I When I was young, I heard discourag- learned a great deal from sharing a stand Halen: I was acting concertmaster under ing words about the likelihood of being with some of the older, experienced violin- and then his regular con- able to be a professional musician. Being ists, observing how they played and certmaster for the season before he left in self-critical as well, I never thought I would responded to conductors. One older col- spring 1995. Hans Vonk replaced him, but win an orchestra audition—but I won my league, Joe Wilfinger, produced the most got Lou Gehrig’s Syndrome, ALS; he first one. Do what you really believe in beautiful sound with tremendous bow passed away in fall 2004. I considered and follow your dream. The worst thing speed and no tension. One time I bor- him a dear friend, and he was my boss. I that can happen is that you learn a great rowed his violin and was amazed to dis- watched him, wasting away from the dis- deal about music and carry that with you cover it had a teeny sound! He said to me, ease, like watching a candle in an the rest of your life, even while doing “Always remember, your sound is in here,” enclosed space go down to a flicker. something else professionally, and even gesturing to his head. He knew what David Robertson is now our conductor, that’s a good outcome. If I hadn’t tried, sound he wanted to produce; he had it in a vigorous force and an inspired leader in boy, would I have regretted it. The first his mind and ear. many different styles of music. A dynamic time I heard Mahler’s Second Symphony person and brilliant mind, he brings a from amid the orchestra, I couldn’t believe Halen: Being concertmaster is like being leadership that is refreshing and that has it. And, had I not heard that from the mid- the first officer on the Starship Enterprise in helped reinvigorate the entire community. dle of an orchestra, how much I would Star Trek. We went after him immediately, when we have been missing! had the music director opening, and CONDUCTORS nailed him down. That guy is really head- PLAYING IN THE SYMPHONY Lin: Levine and Ozawa have very differ- ed up, and we wanted to ride that wave Lin: Being a member of the BSO is ent approaches to music. Ozawa is beauti- together with him. great—one has exposure to world-class ful to watch on the podium and almost musicians and a beautiful hall. But an seems to be reacting, dancing to the STAYING FRESH orchestra of that level has less tolerance music. Levine’s beat is understated; he Lin: I entered the Tchaikovsky Competition for an inexperienced player. It was a lot of wants the musicians to find the music and at a time in my life when I was at a cross- pressure to learn the repertoire quickly and the energy from within themselves. Each roads and didn’t really know what I want- learn how to fit in as a section player, both has validity but creates different listening ed to do with my life. I like to find things in terms of sound and as a colleague. It experiences for the audience. Levine is a that will push me to grow musically and was a tough first year for me. Learning the proponent of new music, which has been technically. Going to Moscow was a little ropes in an orchestra with a less demand- challenging for both the musicians and like taking an Outward Bound course! I ing schedule might have made the transi- audiences. It’s definitely made me open found ways to practice four to six hours tion easier. my ears in a different way. daily on top of playing in the BSO. And in w Moscow I didn’t know anyone and needed i Missits: When I was a student at the Kent- Cooke: I worked under Seiji [Ozawa] for to find inner strength to get through the n Blossom Festival in 1992, I went to hear thirteen years, and enjoyed him very three competitive rounds. You come out of t the Cleveland Orchestra play every week. much. I’ve also enjoyed the change with that kind of an experience thinking, “Yes, I e r Sitting in the third row and watching the Levine. His choice of repertoire is challeng- can do it!” Playing on the first stand in Mil- people play, I thought, “This is where I ing, sometimes almost staggering in terms waukee and London were also wonderful 2 0 0 6 39 Alumni Profile

experiences. I enjoyed being back in the career. I’m blessed in having the opportu- also younger ones. It’s part of the job Midwest and made some close friends in nity to play Mahler or Brahms symphonies description for the music director, the con- Milwaukee; living in London was an and Mozart or Beethoven quartets with certmaster, and in reality, for all the play- invaluable, eye-opening experience (yes, top-notch musicians. And teaching keeps ers. People support institutions because of America is not the only country in the me on my toes—as does having a tod- the people in those institutions. The one world!). I also learned a lot about what is dler—always thinking. I end up appreciat- thing an orchestra has going for it is an involved in leading an orchestra. One of ing each aspect of my life, and the army of creative talent that can inspire a the terrific things about the BSO is that annoying little things that might normally community to step forward and get inter- members can apply for leaves to have be irritating don’t matter: there isn’t time to ested in and excited about the world of other musical experiences; it keeps the worry about them! music. The most obvious motivation for the players fresh and in shape. audience to support us is for the orches- Missits: We have two sons, Alexander tra’s performances to be inspiring. The Missits: I love the orchestra tours. I like (who is four years old) and Adrian (who is number one way to communicate is playing in the big concert halls and seeing two). My husband works at home, repair- through the music, but right after that, the audiences react, and I meet people in ing and selling flutes. I play chamber there are social settings and spoken other cities I haven’t seen for a long time. music and teach a bit at home, and I words. Often the most important things are This year, when we were in Germany, I enjoy that very much. I don’t think I’m the one-on-one relationships: you fill con- met my first violin teacher! going to teach our children; that would be cert halls one seat at a time. a conflict of interest! I’ll leave that work to Being a musician today is much more Cooke: Having started violin in the public someone else. of an entrepreneurial endeavor than it schools, I know how important string edu- once was. The skill that I find overlooked is cation in the public schools is; my wife Halen: My wife, Miran (a Korean-born one of self-promotion; you must have a (Lisa Crockett, whom I met at UI) and I soprano), and I have a son named Christo- savvy marketing mind for yourself. Every- have been teaching a string ensemble as pher who is nine and plays the piano. We one in today’s world must have a CD of volunteers in our local public school for go to Aspen in the summer, where I do their solo playing. What music schools about six years. We are committed to help- most of my teaching in addition to being might do as part of their master’s degrees, ing out in public school string education. concertmaster. It’s lovely, and the orches- instead of having required recitals, is to My wife’s father, Frank Crockett, got his tras there are basically young profession- have candidates go through the process of doctorate in music education at UI, and als mixing with older professionals from all making a professional CD: a great per- became arts coordinator for the State of over the country. It’s great fun. formance, editing, engineering, great Georgia. It’s important at a certain point in packaging including cover art, putting your career that you foster creativity and ADVICE together liner notes and a label that are help people understand the joy of making Missits: Take orchestra classes seriously well written and accurate. Then they have music. It’s incredibly important at the pub- from early on! a professional product to introduce them- lic schools, and not just for the children of selves to the professional world. The peo- parents who are motivated to get their chil- Cooke: It’s critical that students have an ple who win orchestra auditions are a tiny dren music lessons. Now that our daugh- understanding of what they’re going to do fraction of the graduates today, but the CD ters Elizabeth and Laura are fourteen and in life after the university. It’s really impor- would help all kinds of graduates learn to eleven, I’m also thinking of playing more tant, for a symphony career, to learn the better represent themselves. chamber music again. I’m still thrilled to be standard repertoire as thoroughly as you in the BSO. My colleagues are wonderful can, because then you won’t be starting Lin: Listen to great singers, jazzers, instru- players, and it’s a constant learning expe- from ground zero when you prepare for mentalists that play other instruments. Think rience, a continual graduate course. We auditions. outside the box. When I was taking audi- have guest conductors, like Frühbeck de You learn from things that don’t work. tions, I played for wind players, for cellists, Burgos this week, and you take something You have to approach auditions and inter- for an orchestra librarian, trying to play away from those concerts. Even when views with the idea of learning how to go for a set of ears that was not hung up on you’re playing standard repertoire, you on from there. You can’t let a rejection bowings and fingerings. gain an insight into it. weigh you down too much. You may not I enjoyed studying at two universities feel great, especially if you made the finals because it gave me exposure to other BALANCING CAREER AND FAMILY but didn’t get the job, but at a certain fields and art forms, not just the music Lin: My son, Aaron, is two years old. He point, you have to learn from the experi- world. It’s important to always be search- loves music and sometimes asks me to take ence and grow for the next one. ing for better ways to communicate in your out the violin. I’m not going to specifically music, to be more convincing, to have a s o steer him into music, but if he asks to Halen: It’s crucial today to get involved in clear point of view or interpretation. A n study, I’ll encourage him. working for the orchestra’s financial health. well-rounded person has more experiences o I like having the variety of chamber We have to appeal to all kinds of audi- to tap into, and that will be reflected in his r i music, orchestra, and teaching in my ences including the traditional ones, but or her music making. t i e s 40 Band Notes

Illinois Wind Symphony in Alumni Notes

Gurnee District Band Concert at Carnegie Hall Team Recognized for Outstanding Teaching The Gurnee District 56 Band team received an impressive Award of Merit from the Illinois State Board of Educa- tion (ISBE), as part of the 31st annual Those Who Excel/Illinois Teacher of the Year education awards program. The Gurnee District music educators were nominated by a band parent. The final selection for the Award of Merit, the highest recognition given in the team teaching category, was determined by a committee of peers. The three member team was presented with their award for outstanding teaching at the ISBE The Illinois Wind Symphony, sence II, written especially for the state banquet held in Decatur in April under the direction of Pro- Carnegie Hall event. In addition, two other 2005. All three directors are alumni of fessor James F. Keene, will works were composed specifically for this the UIUC program in Music Education: perform in concert Friday concert, Cityscape: A Fanfare for Winds evening, February 17, and Percussion by Scott Boerma, and Two Michael Bandman (B.M. '79) has 2006 in America’s most Pieces for Wind Ensemble by New York directed the Viking Symphonic Band of renowned music center, Carnegie Hall. All composer Shafer Mahoney. 7 and 8th graders at Viking Middle alumni and friends of the University of Illi- Join in celebrating this historic occasion School for 26 years. nois are invited to experience the thrill of and in supporting the students, faculty, and seeing the nation’s most famous university staff involved in this exciting event. Call Ruth Moore (M.S. '86) teaches the band in New York the Carnegie Hall Box 4th and 5th grade band at O'Plaine City as they perform Office for tickets School and has been teaching in the on the world’s most today: (212) 247- district for 23 years. prestigious stage for 7800. Individual con- the first time in uni- cert tickets are Jeff Worth (B.M. '80) directs the 6th versity history. available for $20, grade concert band at Viking Middle Guest artists will Illinois Brass Quintet $30, or $45. Private School. He is a 24 year veteran of Dis- include the Illinois Brass Quintet, com- boxes, seating up to eight people each, trict 56. posed of Professors Ronald Romm and can be purchased on the first or second Michael Ewald (), Kazimierz tiers for $400 and $600. For information “It is indeed a pleasure to honor these Machala (horn), Elliot Chasanov (trom- about private boxes and group tickets (for individuals for their outstanding work with students,” said Interim State Super- bone), and Mark Moore (tuba), as well as groups of 30 or more), contact Peter Grif- w percussion professors William Moersch fin, UI assistant director of bands, (217) intendent of Education Randy Dunn. i and Ricardo Flores. Guest artists will be 333-3028. “They represent the thousands of people n performing the premiere of David Gilling- who create great educational experi- t ham’s newly-expanded concerto Quintes- ences and positive learning environ- e ments for students every day. We salute r This concert is an official event of the 2006 year-long celebration of the 75th them for their dedication, their talents 2 Anniversary of the College of Fine and and their commitment to excellence.” 0 Applied Arts at the University of Illinois 0 at Champaign-Urbana. 6 41 Alumni Events

Come Join UIUC Trombone Choir’s 50th Season Celebration 2005-06 ALUMNI EVENTS Competition in 1993, and has also pre- sented invited performances at The Mid- Society for Ethnomusicology West Clinic, International Band and 50th Anniversary Meetings Orchestra Conference; the Illinois Music Friday, November 18, 2005 Educators Association Convention; the Fes- Sheraton Midtown Atlanta, GA tival de Launediere in Quebec; and the 9:30 to 11:30 p.m. Reception, Crown Room Montreal Music Festival. The Midwest Clinic The University of Illinois Trombone Choir International Band & Orchestra Conference got an early start celebrating their 50th Friday, December 16, 2005 Hilton Chicago season with a concert November 1, 2005 720 S. Michigan Avenue in the Great Hall of the Krannert Center for Chicago, IL The University of Illinois Trombone Choir in concert at the 1993 ITA Convention as winners of the Remington Competition. the Performing Arts. A highlight of the pro- 5:30 to 6:30 p.m. Lake Michigan Room gram included Franz Biebl’s Ave Maria The School of Music welcomes all trom- arranged for the choir by the conductor Illinois Music Educators Association bone alums to campus to join in celebrat- Friday, January 27, 2006 Elliot Chasanov, and performed in memory Pére Marquette Hotel ing the 50th Anniversary of the University of Dr. John Hubbard. 501 Main Street of Illinois Trombone Choir with an on-cam- Peoria, IL pus reunion Saturday, April 8 and Sunday, To join the Trombone Choir in their Spring 6 to 8 p.m. Cheminee Room April 9, 2006. 2006 Reunion Concert, contact Prof. Ellliot Illinois Wind Symphony Concert Chasanov by e-mail, [email protected], Conductor James F. Keene The 2005-06 season marks the 50th or by phone, 217-333-6674. Friday, February 17, 2006 anniversary of the founding of the UI Trom- Carnegie Hall bone Choir by Professor Emeritus Robert Don’t forget to save the dates: 57th Street & 7th Avenue Gray. Elliot Chasanov became the choir’s New York, NY Trombone Choir Reunion Weekend second director in 1991 and, under his 8:00 p.m. Isaac Stern Auditorium UIUC School of Music Carnegie Hall Box Office, (212) 247-7800 direction, it has performed in both the Saturday, April 8, and U. S. and Canada, on tours of Quebec, Sunday, April 9, 2006 Meet Joe White Texas, the East coast, Midwest, and south- Saturday, February 18, 2006 Mom’s Day Weekend ern United States. The choir performed at 101 Park Avenue at 40th Street The International Trombone Association 4 to 6:30 p.m. Club 101, Manhattan For more reunion information, check the UI Trombone RSVP by Feb. 9: (800) 355-2586 or Convention in Cleveland as the winner of Studio Website at: [email protected] the Emory Remington Trombone Choir www.trombone-at-illinois.com Sponsored by the Illinois Alumni Club of Greater New York

50th Anniversary Meet Joe White U of I Trombone Choir While in New York, meet Saturday, February 18, 2006 Sunday, April 9, 2006 the new UIUC President 101 Park Avenue at 40th Street 3:00 p.m. Concert, KCPA Great Hall B. Joseph White, who 4 to 6:30 p.m. Club 101, Manhattan will be introduced by Music Educators National Conference Urbana Campus Chancellor Reception sponsored by the University of (and native New Yorker) Thursday, April 20, 2006 Illinois Alumni Association and the Illinois Salt Lake City Marriott Downtown Richard Herman. Hear about the Univer- Alumni Club of Greater New York. Cash 75 South West Temple sity of Illinois of today and the plans for a s bar and complimentary hors d’oeuvres pro- 9:30 to 11:00 p.m. Room TBA o brilliant future. Ask questions, learn how you n vided. Admission is free, but reservations o can get involved, and stay informed. Host are recommended. RSVP by February 9 by School of Music Convocation r for Pres. White’s reception will be Dennis e-mail, [email protected], or by phone, Sunday, May 14, 2006 i Swanson, ‘61 COM, MS ‘66 COM, and (800) 355-2586. UIUC Smith Memorial Hall t president of Fox Television. i 5:30-6:45 p.m. Recital Hall e s 42 Alumni News

val. He also appeared in Elkton, Maryland 1950-1959 in March as guest conductor for the Cecil Roslyn Rensch (M.A. ’59, Ph.D. ’64 University of County High School Honor Band Festival. Wisconsin-Madison), alumna and former music faculty The Washington County performance was member at UIUC, visited the Urbana campus on Octo- Johnson’s eighteenth appearance in Mary- ber 4, 2005, attending the school’s harp studio class land as guest conductor to All-County High and meeting with harp students. During her visit, Dr. School bands and orchestras, Maryland Rensch gave the School of Music Library an auto- graphed copy of her book Trois Siècles de Harpes Intercollegiate Bands, MMEA All-State In- (Three Centuries of Harpmaking), which was included Service clinic ensembles and regional sum- in the Victor Salvi Foundation Harp Collection Exhibi- mer festival ensembles. He has served as tion at the Musée des Beaux Arts in Lyon, France. The guest conductor in Delaware, Illinois and illustrated catalog of antique harps explores the evolu- Michigan, and as consultant, clinician, tion of the instrument over the last 300 years and was and adjudicator at over 30 county, state Dr. Rensch autographs her book Trois prepared in conjunction with the exhibit curated by the Siècles de Harpes for the Music Library. Salvi Foundation, as a part of the Musée des Beaux and regional festivals since coming to Sal- Arts bicentennial and the Sixth European Harp Symposium held in Fall 2004. Dr. isbury University in 1988. Rensch is a longtime board member of the World Harp Congress and has served as that group’s historian. Theodore Lucas (D.M.A. ‘70) was named Provost and Vice President for Aca- demic Affairs at California State University 1940-1949 of in December. He sang the role Channel Islands, a new campus of the of Hunding in Wagner’s Die Walküre with CSU. Formerly the Director of the School James W. Schrodt (B.M. ’38, M.M. the Royal Opera at Covent Garden in Lon- of Music and Dance at San Jose State Uni- ‘47. M.S. ’49), see story In Memoriam. don and King Marke with the Symphony versity, Ted came to UIUC following a year Orchestra of the Gran Teatre del Liceu on in Paris, where he was a student of Nadia their recent 2005 DVD release of Tristan Bolanger. He pursued a double major at 1970-1979 und Isolde. Eric also coached UIUC music UIUC in Ethnomusicology and Composi- students in a series of master classes while tion, studying under Bruno Nettl, Gordon Eric F. visiting the Urbana campus in April and Binkerd and Thomas Fredrickson. Dr. Halfvarson (B.M. October 2005. Lucas, who has done field work in as far ’74, M.M. ’76), flung locations as the Amazon jungles in internationally Richard Peru, most recently had a choral composi- known opera Lawrence tion, “The Greatest of These Is Love,” pub- singer, was mar- Johnson (B.S. lished by Santa Barbara Music Publishers. ried to Stephanie ’76, M.S. ’78 In his spare time Ted likes to ride his Armelle Montalvo Michigan State) motorcycle, fly airplanes, and play the vio- in New York’s City professor of lin in local orchestras in and around Los Eric Halfvarson and Stephanie Hall in Manhattan Armelle Montalvo were married music at Salis- Angeles. in New York, October 18, 2005. on October 18, bury State Uni- 2005. Halfvarson, versity, served “My favorite memory of my years at U of I: originally from Aurora, Illinois, is son of as guest conductor to the All-County High Our string quartet, which included David choral directors and music teachers Sten School Honors Band on January 29, 2005 Rosenboom, played on a student composers' and Lucille Halfvarson. Stephanie, daugh- in Hagerstown, Maryland. The concert, concert, and we did an arrangement of the ter of dentists Michel and Anie Montalvo which included works by Prokofiev, J. S. Beatles' "Day Tripper.” We had dozens of of Bordeaux, France, is a stage manager Bach, Percy Grainger, William Latham, women in the balcony start screaming and with the Liceu Opera Theater in Barcelona, w and Harry L. Alford, concluded three days throwing jelly beans at us. You couldn't even Spain. The couple met while Halfvarson i of intensive rehearsals, clinic and work- hear the music! Later, the composition faculty n was singing in the theater three years ago. shop sessions with select county high threatened to expel us from the program if we t They plan, eventually, to live in New York e school musicians and their directors. ever did that again.” City. Eric recently appeared with the New Richard returned to Hagerstown in March r York City Opera in a new production of 2005 to serve as clinician/adjudicator for Ted Lucas 2 Capriccio, the last opera by Strauss, and Washington County’s first county-wide festi- 0 will reappear in the MET opera production D.M.A. '70 0 6 43 Alumni News

Stephen Cary (B.M. ‘70, M.M. ’75, D.M.A. ’88) appeared as a tenor soloist dur- ing the past season in Dvo?ák’s “Requiem” with the North Caroli- na Symphony and North Carolina Master- chorale, conducted by Alfred Sturgis (D.M.A. ‘90); Mozart’s “Coronation Mass,” “Regina Coeli,” and “Solemn Ves- pers” with the Stretton, England Choral UIUC Ring groupies traveled to the Chicago Lyric Opera for Wagner’s complete Ring Cycle. Society; Beethoven’s “Ninth Symphony” “It was lovely to come down April 6 and 7 and appear before Prof. Katherine Syer’s Musicology with the Tuscaloosa Symphony, conducted class, as well as Prof Ron Hedlund’s voice class. The enthusiasm of the 50 or so people who all by Shinik Hahm; three performances of came up to attend the Lyric Opera of Chicago’s complete RING cycle was a tremendous support Handel’s “Messiah” with the Illinois Sym- to all of us on stage.” phony in St. Louis, Springfield, and Bloom- Eric F. Halfvarson ington; and three performances of Haydn’s B.A. ’74, M.M. ’76 “Paukenmesse” with the North Carolina Symphony and the Durham Choral Society, Anne Mischakoff Heiles (D.M.A. ‘78) Beverly (Smith) Soll (B.M. '71, M.M. along with recitals and master classes for is the author of a new biography about '73) authored a book on the operas of students of Moorhouse College and Clark her father, titled Mischa Mischakoff: Jour- African American composer William Grant Atlanta University. Stephen was also pro- neys of a Concertmaster, published by Sill, I Dream of the World, which was moted recently to full Professor at The Uni- Harmonie Park Press in late 2005. Heiles released by the University of Arkansas versity of Alabama School of Music. His is currently completing a draft for another Press in the spring of 2005. Previously she teachers have included Frances Crawford, book, a more general set of profiles and was editor of a three-volume edition of Ronald Hedlund, John Wustman, and history, called Concertmasters. Arias, Duets, and Scenes from the Operas Gérard Souzay. of William Grant Still, published by Robert Morgan (D.M.A. ‘74) was William Grant Still Music in 1998. Charles inducted into the International Association Norman for Jazz Education (IAJE) Hall of Fame in Mason (M.M. ceremonies in Long Beach, California, on ‘79, D.M.A. 1980-1989 ‘82), composer the occasion of the 32nd annual IAJE inter- Daniel Adams and Birming- national conference. The IAJE Hall of Fame (D.M.A. ’85) received ham-Southern was established in 1978 to honor “individ- four performances of College profes- uals whose musical contributions and dedi- his composition sor of music, cation to jazz education over the past 25 “Between Stillness and was awarded years have created new directions and cur- Motion” for solo piano the prestigious ricular innovations for jazz education during the fall of Charles Mason won the prestigious worldwide.” Dr. Morgan’s induction 2005. The composition Samuel Barber Rome Prize in Musical Rome Prize Fel- occurred during the conference’s evening Composition. was performed at Henderson State Univer- lowship in concert on January 6, 2005. Robert sity (September 20), Pittsburg State Univer- Musical Composition during ceremonies retired in 1999 as Director of Jazz Studies sity (September 26), and Kansas State on April 14, 2005 in New York City. The at Houston’s High School for Performing University (September 28) by pianist Dr. American Academy in Rome awards the and Visual Arts (HSPVA), a position held Jeri-Mae G. Astolfi, and at Texas Southern Rome Prize each year to fifteen emerging since 1976. The HSPVA jazz program University (September 29) by Dr. Jane artists and fifteen scholars. As a prize win- holds the state record for most students Perkyns. Adams composition “Khromas ner Mason will spend eleven months at the selected for Texas All-State Jazz Ensemble, Diabolus” for trombone solo and percus- American Academy in Rome composing and national records for Clifford sion ensemble was recently released on a and gaining inspiration from the art and Brown/Stan Getz Fellows, IAJE Young Tal- compact disc entitled “Greetings From…” architecture of Rome, and his peer schol- s ent Award recipients, and Arts Recognition produced and distributed by the National ars and artists. Among the pieces he will o and Talent Search jazz finalists. Dr. Mor- n Association of Composers, USA. work on will be a commission from Karen o gan continues to maintain an active career Bentley Pollick and Ivan Sokolov for a vio- r as a pianist, composer/arranger and clini- i lin and piano duet, a composition for the t cian, and to serve on the Board of Direc- i tors for HSPVA. e s 44 Alumni News

Miami String Quartet, and a guitar quartet the voices. She is now considered a pro- and chamber orchestra piece for the Corona ducer at WFMT, which she writes is “Real- 1990-1999 Guitar Kvartet of Denmark. ly great fun!” James Bohn (M.M. ‘93, D.M.A. ‘97), author of a newly released book on Lejaren Nathan Matthews (M.M. ‘80) Soprano Hiller for Edwin Mellen Press, recently had a sang the world premiere “Amazing how one’s life and career can composition entitled “ice nine” included on performance of Nathan’s new composi- take such great turns!” the CD compilation The Last Signal tion, “A Woman’s Plight,” at the 20th (www.independentopposition.com). The Anniversary Concert: An Evening of World Carolyn Paulin video of this composition was presented at Premieres in New York’s Merkin Concert D.M.A. ‘89 Most Significant Bytes 2004 II in Akron, Hall in May 2004. The evening celebrated OH. Receiving its European premiere, the 20th anniversary of the Riverside Bohn’s video “Walking on Eggshells” was Opera Ensemble, a not-for-profit organiza- Ronnie Pejril (B.M. ’86, M.F.A. ’88 presented at Schallmauer in Vienna, Austria. tion dedicated to developing and present- Princeton) was appointed to the music fac- ing new musical theater pieces and ulty at Richard J. Daley College in Chica- Donato Cabrera (M.M. ‘99), previously experimental opera. The new work by go. Ronnie studied composition with Paul a graduate student in Orchestral Conduct- Matthews, producing artistic director of the Zonn and Thomas Fredrickson at UIUC, ing with Professor Donald Schleicher, has Riverside Opera Ensemble, is a setting of and with Paul Lansky and Milton Babbitt at a new position as Assistant Conductor of poems by Edgar Allan Poe. Nathan is Princeton. He is active as a composer and the San Francisco Opera Company. Dona- music director and assistant professor in performer as pianist for the jazz trio 13 to is also closely associated with the New the Department of Theatre and Dance at Miles High. Jersey Symphony Orchestra (NJSO), and the University at Buffalo, and also main- has guest conducted the orchestra on tains a New York City studio where he Marianne Sandborg (M.M. ‘81), lyric numerous occasions and served as host for teaches privately as a vocal coach. soprano, resident artist and teaching asso- their pre-concert series Classical Conversa- ciate at Roanoke College, recently won tions. During the NJSO’s Northern Lights Jon Ceander Mitchell (M.S. ‘ 72, Ed.D. first place in the Philadelphia Cathedral Festival, Mr. Cabrera guest conducted the ‘ 80), Professor of Music and Chair of the Voice Competition, held in conjunction Greater Newark Youth Orchestra in a per- Department of Performing Arts at the Uni- with the Diana Barnhart American Art formance of Grieg’s First Peer Gynt Suite. versity of Massachusetts Boston, had his Song Competition. As the first place win- Cabrera, a Vienna Philharmonic Karajan second conducting CD released by Cen- ner, she was invited to open for mezzo- Conducting Fellow, was also recently taur Records (www.centaurrecords.com). soprano Marietta Simpson in a recital of appointed Music Director of the American “The Youthful Beethoven” features, among American art song. The judges for the Contemporary Music Ensemble (ACME), other selections, his own realization of competition came from the faculties of East- and received international attention for Beethoven’s Piano Concerto in E Flat, man, Peabody Conservatory, Juilliard, and programming adventurous repertoire W.o.O. 4 and completion of the Romance the Manhattan School of Music. In the through its month-long webcast on Ameri- Cantabile, H13. The featured pianist is May 2005, Marianne was featured as the can Music Center’s website (newmu- Grigorios Zamparas and the orchestra is soprano soloist with the Salem Choral sicbox.org). At the 2004 Spoleto Festival the Bohuslav Martinu Philharmonic of Zlin, Society and Orchestra world premiere of Italy, Cabrera assisted Maestro James Con- Czech Republic. In addition, his book, The “Mass for Peace,” conducted by the com- lon in a production of Viktor Ullmann’s Braunschweig Scores: Felix Weingartner poser Aaron Garber. She has performed opera, Der Kaiser von Atlantis. In recent and Erich Leinsdorf on Beethoven’s First with the Roanoke Symphony Orchestra seasons, he was Assistant Conductor for Four Symphonies, was published by the (RSO) and the Roanoke Valley Choral Neeme Järvi, Mariss Jansons, Kurt Masur, Edwin Mellen Press in 2005. Society, Canticum Novum Chamber George Manahan, Marcello Viotti, Roberto Singers, Blacksburg Master Chorale, Eury- Abbado, Gerard Schwarz, Julius Rudel, Carolyn Paulin (D.M.A. ‘89) works at dice Community Orchestra, and Jefferson and Sergiu Commissiona. In addition, WFMT in Chicago and sings in the Chica- Choral Society, in addition to several Cabera has served as Music Director of go Symphony chorus. Carolyn just finished Opera Roanoke productions. Marianne, the Opera Scenes Program and as Chorus producing the “On Wings of Song” series who is also an organist and soloist at Sec- Master for Manhattan School of Music’s from the Marilyn Horne Foundation, which ond Presbyterian Church in Roanoke, was Opera Theater, and conducted the Man- will soon be syndicated nationally. The 13 voted ‘Best Vocalist’ for 2005 by readers hattan School of Music’s Chamber Sym- part series of song recitals was recorded of The Roanoker magazine. phony in a master class with Michael in NYC between 2002 and 2004. Dr. Tilson Thomas through a live Internet 2 w Paulin wrote the scripts, record the webcast. Donato currently divides his time i voiceovers, edited commentary by host between New York and San Francisco. n t Kerry Frumkin and Marilyn Horn, and put e the series together—including editing and r putting multi-tracks with music beds under 2 0 0 6 45 Alumni News

Madelene opera company in North America, Interlochen Center for the Arts the past two (Potamianos) Andrew has engineered an 11% increase summers. Daniel’s public broadcast can be Campos (B.M. in ticket sales for the company. heard at: http://www.wgte.org/fmlive/7- ‘97) is an active 1-05.asp freelancer in the Aaron Ichiro Hilbun (B.M.’95, Chicago area on D.M.A.’04 Florida State), oboe and Justin Vickers (B.M. ‘96, M.M. ’00 flute, piccolo, and Christopher Krummel (.M.M. ’92 Univ. of Kentucky), lyric tenor, made his piano. In recent D.M.A. ’97), trumpet were two of the fea- international operatic debut recently at the seasons, she has tured soloists in a performance of J. S. Arbat Opera in Moscow, creating the title Madelene and Edgar Campos performed with the Bach’s Second Brandenburg Concerto with role of Italian painter Amedeo ‘Dedo’ perform with the Brazilian group Escola de Samba. Civic Orchestra of the Orquesta Sinfónica de Trujillo at the Modigliani in the world premiere of Jerrold Chicago under 2005 Festival Internacional Bach in Perú. Morgulas’ Anna and Dedo, with the North Daniel Barenboim, the Spoleto U.S.A. Fes- Hilbun also presented a recital and master American premiere presented in New York tival in Charleston, S.C., the Kenosha Sym- class at the Conservatorio Regional de City in Fall 2005. Justin was invited to phony, and the Lyric Opera of Chicago. Música del Norte Carlos Valderrama. The return to Moscow for the premiere of a She and Edgar Campos, her husband, festival takes place annually during the cycle of Shakespeare Sonnets in a two- also play with a Brazilian group Evanston month of August. week Festival of the Music of Aleksander Escola de Samba, which can be heard this Zhurbin, and to portray pivotal roles in a winter at the Hot House and the Old Town triptych of Chekhov-based one-act operas School of Folk Music, as well as a dozen for Moscow’s Arbat Opera in 2006, after Chicagoland schools. Madelene teaches which he will return to America for his first flute in the Chicago area and is the choir staged-portrayal of Gennaro in Opera accompanist of St. Benedict Parish. She Boston’s Lucrezia Borgia. Vickers created enjoyed in particular performing in the the role of Tom Cobb in Seymour Barab’s Lyric Opera of Chicago’s production of A Perfect Plan for Encompass New Opera Wagner’s Ring Cycle in 2005. Theatre and rejoined Encompass in Spring Aaron Hilbun and Chris Krummel were soloists at the 2005 of 2005 for the world premiere of William Festival Internacional Bach in Perú. Ada Fine (M.M. ‘99) a Russian mezzo- Banfield’s new jazz opera, Gertrude Stein soprano and former student of Sylvia Creates a Leap Early On, a Gertrude Stein Stone, sang “Sieben Lieder” by Alma Raymond Pettit (M.S. ‘75, Ed.D. ‘96), trilogy which includes two one act operas Mahler with the Knoxville Symphony Vice President for Product Development & by Ned Rorem and Virgil Thomson. In Orchestra on October 9, 2005. Intelligence for Longwoods International, recent seasons Mr. Vickers has concertized continues to serve as an international busi- throughout Spain, and China, Andrew ness consultant, writer, and speaker, and where his visit to Beijing culminated with a Goldberg (B.A. will publish a new book titled “Market performance in the Concert Hall of the For- ‘97) was very active Research and Advertising” (LEA Inc., Pub- bidden City. He was invited to appear as while a student in lishers) on behalf of the Advertising the tenor soloist with the Choral Society music composition at Research Foundation, based in New York and Orchestra of Grace Church in New UIUC, serving as City. The book is a synthesis and analysis York City in their performance of Haydn’s president of the Var- of a ten year collection of advertising case Creation on March 11, 2005. sity Men’s Glee Club studies gathered as part of the David with Bill Olson and Ogilvy Research Award program. Royal- Richard Wyman (M.M. ’99) was Andrew Goldberg is Director Barrington Coleman, ties from the book will be used to support appointed Assistant Director of the United of Audience Development for an academic scholarship in marketing and the Florida Grand Opera. singing with the Con- States Coast Guard Band on October 18, cert Choir and The advertising studies, sponsored by the 2004, having played Baritone Saxophone Other Guys, working at The Planet, and Advertising Research Foundation. in that organization since 1998. The Coast interning with the late Suzi McDonald at Guard Band, based in New London, Con- the Krannert Center. Since graduating in Daniel Schuetz (M.M. ‘93), Assistant neticut, is one of the nation’s five premiere 1997, Andrew has pursued a career path Professor of Voice at Heidleberg College military bands. It represents the guard in arts administration. His goal is to be a in Tiffin, Ohio, gave a live performance/ around the U.S. and the world, at presiden- CEO for a major performing arts compa- interview for Ohio’s PBS/NPR affiliate tial functions, and for the Secretary of ny. He is currently the Director of Audience WGTE FM 91 in July 2005. The award- Homeland Security and other cabinet offi- Development at the Florida Grand Opera winning program “Live From FM 91!” fea- cials on formal and informal occasions. As s o (FGO), where he oversaw a major ticket tures performances and conversation with a member of the Mystic Saxophone Quar- n giveaway of 2,000 free tickets to Puccini’s some of the area’s finest musicians, along tet (membership consists of the USCG Band o r Madama Butterfly. During the past 2 years with special appearances by guest artists. sax section), Wyman won the Bronze Daniel and his wife Jennifer Hibish Scheutz i at FGO, the 7th oldest and 13th largest medal in the Winds Division at the 2004 t also taught on the Voice Faculty of the i Fischoff Chamber Music Competition. At e s 46 Alumni News the 2003 World Saxophone congress, he Rebecca Bryant (Ph.D. ’03), director of Claire Happel performed as soloist and with the USCG the Graduate College Career Services (B.M. ‘04) was a Band Saxophone Quartet. On Thanksgiv- Office at the University of Illinois at panelist on “Keep- ing 2002, he and the quartet performed a Urbana-Champaign, had an article titled ing Your Body in feature segment on the Tonight Show with “But I Have No Skills“ published in the Tune at the Harp” Jay Leno. Richard currently lives in Water- Chronicle Careers section of the August at the Ninth ford, Connecticut, with his wife Erin (Con- 18, 2005 issue of the Chronicle of Higher World Harp Con- ner) Wyman (M.M. ’98), and their two Education. gress in Dublin, sons Conner (2) and Avery (1). Ireland in Stevie Caufield (B.M. ‘02) won the Co- Claire Happel, with Professor July 2005, where Ann Yeung, at the Ninth World Principal Bassoon position in the United Harp Congress in Dublin. she presented her States Coast Guard Band, in Connecticut. research on harp technique and the Alexander Technique. Stephanie Chigas, mezzo-soprano and Other panelists included principal harpists former student of UIUC Voice Professor of the BBC Symphony Orchestra and Sylvia Stone, won First Prize in the 2005 Trondheim Symphony Orchestra, and harp Richard Wyman performs with the Mystic Saxophone Quartet George London Competition held March professors of the Norwegian State Acade- on the Tonight Show with Jay Leno. 17, 2005 in New York City, singing “O, my of Music and the Accademia di Santa mio Fernando” from La Favorita and the Cecilia in Rome. This summer, Claire “Seguidilla” from Carmen. Stephanie also attended the Hot Springs Music Festival in 2000-2005 sang Carmen in several performances of Arkansas, and the Aspen Music Festival in Kristina Boerger (B.S. ‘89, M.M. the Peter Brook’s adaptation La Tragédie Colorado. She is currently in her second ’92, D.M.A ’00), Associate Professor de Carmen this summer in Washington, year of study as a master’s degree student of Music at Barnard College, is cur- D.C. and the mezzo-soprano role of La in harp performance at Yale University. rently filling a one-year position Sphinge in the October 2005 American teaching undergraduate and graduate premiere of Georges Enescu’s opera William Helmcke (B.M.E. ’01) has fin- classes in choral conducting at the Oedipe at the Krannert Center for the Per- ished his fourth and final year at Townsend Manhattan School of Music. In May forming Arts with the Sinfonia da Camera Junior High School in Chino Hills, Califor- her chamber choir, the Cerddorion under conductor Ian Hobson. She will nia. In May 2005, Townsend became the Vocal Ensemble, celebrated its tenth appear during the coming season with the third Junior High School ever to perform at anniversary by presenting commis- Boston Lyric Opera and will also cover Carnegie Hall in New York City. Helmcke sions from Lisa Bielawa, Elliot Z. roles at New York City Opera. was recently nominated anonymously for Levine, and David Lang. This past the prestigious Disney “Teaching Hand” season’s guest-conducting appear- Brian Cole (M.M. ’00), who studied con- Award. Mr. Helmcke has also completed ances brought her back home to lead ducting at UIUC under Donald Schleicher, committee work for the State of California the University of Illinois Chamber is the new conductor of the Puerto Rico where he was the only junior high school Singers’ February concert. She also Conservatory of Music. music teacher on the panel charged with gave clinics and lectures as a guest revising the California State and University of the Kalamazoo Bach Festival and Josh Davis (B.M. ’04) received his instru- Music Standards. Helmcke is now pursuing directed the AMUSE women’s cham- mental music degree in bassoon perform- a masters/doctorate degree in music theo- ber choir of Manhattan in its first ance and began graduate studies at ry at the University of Minnesota. summer concert of the season. Manhattan School of Music. Appearing with the Christopher Joseph Herl (Ph.D. ’00), a graduate of Caines Dance Company at Danspace, Gregory Diethrich (Ph.D. ‘04) has the musicology program under Nicholas she directed the music for a work recently taken up the position of Executive Temperley and assistant author of the entitled Tenebrae, choreographed to Director of the Music Arts School in High- Hymn Tune Index (Oxford University Press, motets of Thomas Tallis. Highlights of land Park, Illinois. 1998), is largely responsible for the Hymn the past season’s singing with the Tune Index query program now online at Western Wind sextet included per- David Grandis (M.M. ’02), a conduct- http://hymntune.music.uiuc.edu. An assis- formances of Latign American ing student of UIUC Prof. Donald Schleich- tant professor of music at Concordia Uni- Baroque music with the Folger Con- er, was recently accepted into the doctoral versity in Seward, Nebraska since 2000, sort, and the completion of a record- conducting program at the Peabody Con- Herl’s book Worship Wars in Early w ing of works created for this servatory. Lutheranism: Choir, Congregation and i ensemble by Robert Dennis. Three Centuries of Conflict (Oxford, n t 2004), based on his UIUC dissertation, e received a distinguished award from the r Sixteenth Century Society and Conference: 2 0 0 6 47 Alumni News

the 2004 SCSC Roland Bainton prize for Anne Lyle (B.M. ’03) bassoon, won a Amy Olipra (B.M. outstanding book in the field of Art History position with Sinfonia da Camera, the resi- ’03, B.M.E.’03), and Music. dent orchestra at the Krannert Center for mezzo-soprano and a Performing Arts in Urbana, Illinois. previous student of Adrianne Honnold, (B.M.E. ‘99, M.M. Professor Sylvia ‘05), was appointed Instructor of Saxo- Timothy Newton (D.M.A. ‘04), was Stone, graduated phone at McKendree College in Lebanon, awarded the Julius Herford Prize by the with an M.M. degree IL, beginning in Fall 2005. Ms. Honnold is American Choral Directors Association in music from Indiana a former student of Debra Richtmeyer. Prior for his dissertation “A Study and Critical Amy Olipra, with Professor University in Decem- to enrolling in the Masters degree program Edition of Samuel Capricornus’s Theatrum Sylvia Stone, in Austia. ber and has been in saxophone performance at the Universi- musicum (1669, 1670) and Continuatio accepted into the Sarasota Opera Appren- ty of Illinois, she was the principal saxo- theatri musici (1669).” The work received tice Program beginning January 2006. phonist in the USAF Heritage of America the Nicholas Temperley Award for Excel- Amy sang the role of Czipra in Johann Band, located at Langley Air Force Base, lence in a Dissertation in Musicology in Straussís comic opera Der Zigeunerbaron Virginia. She has also performed with the April 2005 and will soon be published in at the Austrian American Mozart Academy Illinois Symphony Orchestra and the St. the series Recent Researches in the in Salzburg, Austria this summer. Louis Symphony Orchestra. Ms. Honnold Baroque. A Mellon Fellow and Lecturer in was the recipient of the A. A. Harding Choral Studies at Grinnell College, Tim Saxton Rose (M.M. ’01) was appointed Award from the University of Illinois Bands currently conducts the Grinnell Singers. In principal bassoon of the Puerto Rico Sym- in 2005. October 2005, he conducted in master phony Orchestra in October 2003 and classes under Helmuth Rilling at the Inter- recently performed as soloist with the sym- Wendy Jones (M.M. ’03), soprano and national Bach Festival at the University of phony. He is professor of bassoon at the winner of the Palm Beach Opera Competi- Toronto, along with UIUC D.M.A. choral Puerto Rico Conservatory of Music and tion, has a contract from September student David Sawatzky. Over the serves as assistant editor for the Interna- through April 2006 with the Resident Artist past year, Tim taught choral music at the tional Double Reed Society web site. Program of their company. She will cover American School in England, where he the title role in Puccini’s Tosca, in addition also sang in many of the major concert Tyne Steele (M.M. ’05) won the princi- to singing The First Lady in The Magic venues in London, appearing with the pal bassoon position in the Waterloo/ Flute by Mozart and Clorinda in La Cener- London Symphony Chorus, the Philharmo- Cedar Falls Symphony Orchestra in Iowa. entola by Rossini. nia Chorus and the Chamber Chorus. Prior to teaching at Grinnell, Tim served Rachel Whitcomb (Ed.D. ’05) has Carolyn Kuan (M.M. ’01), who studied as Conductor and Visiting Assistant Pro- accepted a position as assistant professor conducting while at UIUC with Donald fessor of Music at Dartmouth College of music education at Nazareth College in Schleicher, was recently appointed Assistant from 1999-2003. Rochester, New York. Conductor of the North Carolina Symphony.

IN MEMORIAM Music Never Ended During Lifetime of Bandleader James W. Schrodt Joseph Rassel, reprinted with permission of the Orlando Sentinel (7/26/05)

James W. Schrodt (B.M.’38, M.M.’47, M.S. ‘49), was practically a “He marched in the Alumni Band at the University of Illinois born musician. A band leader for 64 years, he also played in homecoming and was the oldest marcher four times,” Mosher said. vaudeville, and often with orchestras when performers such as Liber- “He was also the oldest participating trombonist for four years at the ace or Red Skelton were the headliners. “He often filled in when the International Trombone Association’s yearly festival.” Musicians Union called and needed someone,” said his stepson, Schrodt was a bandleader for school bands, college bands and, Tim Mosher of Longwood,[Florida]. “When he became a band during World War II, for the U.S. Army Air Corps Band in Miami. In director, you had to know how to play every instrument in the 1975, he retired as a supervisor of music for the Prince George’s band.” County Public Schools in Maryland and moved to Central Florida. Although he was skilled at playing many instruments, trombone After his retirement, he continued to entertain audiences with his was his favorite, but by no means his first instrument, his stepson musical talents as assistant director of the Seminole Community Sym- s said. “He told me that his grandfather gave him a saw to play when phonic Band at Seminole Community College, as a pianist for the o he was 10 years old.” Sunday school at First Baptist Church in Orlando, and as member of n Schrodt, who died at age 90 on July 22, 2005, was born and the Maitland Presbyterian Orchestra, where he played trombone. o raised in Mount Carmel, Illinois. He had bachelor’s and master’s r degrees in music and a master’s degree in education from the Uni- James Schrodt was a member of the Florida Bandmasters Association, i versity of Illinois. Until a few years ago, he was still marching at the the International Trombone Association, a Life Member of the American t Federation of Musicians, and a Life Member of the University of Illinois i school’s homecoming events. e Presidents Council. s 48 Name Date

Maiden name (if appropriate) SHARE YOUR Home address City State Zip GOOD NEWS! Home phone Home e-mail Web site address Share your achievements, honors, publications, Business name

recordings, performances, and competitions with Business address your fellow alums by sending an e-mail to the City State Zip editor, Suzanne Hassler ([email protected]) or, if Business phone Business e-mail you do not have access to e-mail, use the conven- Year graduation Degree/major ient form at the right to provide your alma mater Your news with updates for the next issue of sonorities. Please include specific dates, years, and titles.

If you plan a trip to campus, you are invited to Your quote on your education at Illinois stop by the School for a visit. Contact Suzanne (Use separate sheet of paper for additional news copy) Note: If you have photos to support your news items, you may send a jpeg file by e-mail only if Hassler, coordinator, alumni relations and devel- they are of a high resolution: 6” X 9” photo at 72 dpi or 2” X 3” photo at 300 dpi. You may opment, to arrange an appointment with the also send pictures or this form to: Sonorities, School of Music, University of Illinois, 1114 West director or a faculty member. Nevada, Urbana, IL 61801 by September 15, 2006.

w i n t e r 2 0 0 6 49 Mr. Michael W. Pressler Mrs. Marlyn Whitsitt Rinehart and Prof. PartnersFOR SUPPORT OF THE SCHOOL OF MUSIC JULY 1, 2004-SEPTEMBERi n 30,Tempo 2005 Kenneth L. Rinehart (Dec) * Donald and Gay Roberts* The following list consists of contributions to the School of Music accumulated through the Dr. Deane L. Root and Dr. Doris J. Dyen generosity of alumni and friends. We thank them for their support of the talent, teaching ability, Mrs. Janice F. and Prof. Melvin Rothbaum* and creativity that exists within the School of Music. Dr. Edwin A. Scharlau II and Mrs. Carol Zimmer Scharlau* The following list represents those who made gifts between July 1, 2004 and September 30 Mr. Herbert Schneiderman 2005. Please note that members of the Presidents Council are designated with an asterisk (*). Mrs. Christie B. Schuetz* The Presidents Council is reserved for those contributors who pledge a minimum of $15,000 Mr. Kyle A. Schumacher lifetime giving to the University of Illinois. Mr. John S. Setterlund Please send corrections to Suzanne Hassler, by e-mail, [email protected], or by telephone, Mrs. R. Janice and Prof. Donald R. Sherbert Mr. Dave Sporny (217) 333-6452. Mrs. Susan S. Starrett Mr. Dennis M. Steele Dr. Milton L. Stevens Jr. Dr. Virginia K. Stitt Ms. Terri M. Svec PRESTISSIMO Mr. Paul B. and Mrs. Virginia L. Uhlenhop* Mrs. Marguerite L. Davis Dr. Leon Thurman ($15,000 and above) Carmen W. Walsh Trust (Dec) Dr. Delbert D. Disselhorst Dr. Peter and Mrs. Nancy van den Honert Prof. John Wustman* Mr. Gerald R. and Mrs. Cathy L. Ditto Mr. Gerald G. and Mrs. Mary Beth Mr. Norman I. and Mrs. Mary J. Beasley* Mr. John P. Drengenberg Weichbrodt Mr. Dean T. and Mrs. Nancy Langford* Mr. Fred H. and Mrs. Adele G. Drummond Dr. Craig J. Westendorf Charles A. Wert Estate (Dec)* VIVACE ($500-$999) Mr. E. Paul and Mrs. Suzanne Duker Dr. Steven Moore Whiting Mr. John G. Dunkelberger II Mr. Robert L. Zarbock Dr. Alan R. Branfman* PRESTO Prof. Gert and Mrs. Anne A. Ehrlich Mr. Craig W. and Mrs. Nancy E. The Honorable Ann A. Einhorn* ($1,000-$14,999) Mrs. Eleanor M. Crum ALLEGRETTO Mr. Michael D. Fagan Mr. John D. and Mrs. Fern Hodge Mr. Raymond P. German and Ms. Clara L. ($100-$199) Armstrong* Mr. Cleve W. Fenley Littig Ms. Doreve Alde- and Mr. Richard B. Mrs. Carolyn J. Bartle Miss Melva F. Gage* Mr. Nicholas Good Cridlebaugh Mr. Paul T. and Mrs. Felice D. Bateman* Ms. Dorothy E. Gemberling Mr. Arthur R. Keller Prof. Carl J. and Mrs. Nadja H. Altstetter* Mr. David A. Bruns* Dr. Joe W. and Mrs. Rebecca M. Grant Ms. Florence Kopleff Mr. Glen R. Anderson Mr. Matthew J. Bruns Dr. Albert D. Harrison Mr. Stuart Levy Dr. Anton E. Armstrong Mr. Leonard and Mrs. Libby De Grado- Ms. Mary Ann Hart Dr. Gordon W. and Mrs. Clara H. Mathie Mrs. Celia S. Arnold Condo Mr. James S. Hatch Mr. Josh and Mrs. B. Chris McQueen* Mr. Duane C. Askew Dr. W. Gene and Mrs. Lynd W. Corley* Mrs. Virginia L. Hedrick Prof. William Moersch Dr. David F. Atwater Adelia Cubbon Estate (Dec) Mrs. June F. Holmes Mr. Keith D. Nater* Dr. David C. and Mrs. Debra S. Barford Mr. Roger R. Cunningham Dr. Chester W. and Mrs. Nadine C. Houston* Prof. Bruno and Mrs. Wanda M. Nettl* Dr. Jon W. Bauman Mr. Ronald J. and Mrs. Melody J. Domanico* Dr. Albert C. Hughes Jr. and Mrs. Charlotte Mr. William J. Pananos Mr. W. Herbert and Mrs. Iva Jean Bayley Mr. Howard S. Engle* E. Hughes Mr. William R. and Dr. Kathryn J. Scott Mrs. Lynne E. Beach Mr. John A. Frauenhoffer* Mr. William C. Jennings Dr. William J. Stanley Dr. Calvert Bean Dr. Robert E. and Mrs. Joan L. Gray* Dr. James H. Keays Mr. G. Gregory Taubeneck* Ms. Kathleen A. Bell Mr. John R. Heath* Mr. Thomas J. Keegan Prof. Nicholas and Prof. Mary S. Temperley* Mr. John P. and Mrs. Elaine Pohl Benisek Dr. Robert W. and Mrs. Mary Elaine House Mr. Howard V. Kennedy Dr. Robert E. Thomas Mr. Donald H. and Mrs. Margery I. Dr. Raymond V. and Mrs. Lori L. Janevicius* Mr. Jeffrey S. Kimpton Mr. Richard R. Tryon Jr. * Bergstrom Mr. Bruce C. Johnson* Mr. Thomas M. and Mrs. Susan A. Koutsky Mr. John H. Walter and Mrs. Joy Crane Prof. E. Sanford and Mrs. Elizabeth C. Berry Mr. Robert G. and Mrs. Cynthia M. Kennedy* Mr. Andrew M. and Mrs. Susan M. Kunz Thornton-Walter* Mr. James E. Beverly Mr. Edward J. Krolick* Mr. William O. Kuyper Mrs. Ellen M. West Mr. Richard B. Biagi Mr. Seymour and Mrs. Virginia Levy Mr. David R. and Ms. Carol C. Larson Ms. Susan Williams Mr. Dennis R. Biagioli Dean Thomas M. and Mrs. Mona Mengler* Dr. John R. Leisenring Ms. Cathrine Blom* Dr. Robert and Ms. Helen Morgan* Prof. Ruth Lorbe Dr. Philip V. Bohlman Dr. Elizabeth Sandage and Dr. Robert D. ALLEGRO Dr. Russell Mathis Dr. Gary C. Borchardt Mussey* ($200-$499) Prof. Charles J. and Mrs. Joanne J. Mr. Clark A. and Mrs. Cynthia M. Breeze Dr. Edward and Mrs. Lois Beck Rath* Mr. James W. and Mrs. Beth L. Armsey* McIntyre* Mrs. Joan B. Brinegar Dr. Roger E. Reichmuth Mrs. Virginia A. Baethke Prof. Richard L. and Mrs. Anna J. Merritt* Dr. Kathryn Bumpass Mr. Arthur Lee and Mrs. Frances A. Ms. Sharon M. Berenson Mr. Jeffrey L. Modlin Dr. Wesley R. Burghardt and Ms. Angela M. s Schlanger Mr. Ronald T. Bishop Ms. Ruth A. Moore o Stramaglia Dr. Ellen M. Simon* Ms. Helen K. Browning Mrs. Gerda T. Nelson n Ms. Sandra Carr o Mr. Frederick V. Simon Mrs. Janet K. and Mr. Jeffrey M. Carter Dr. Philip O. and Mrs. Jennifer L. Nubel Mr. Richard B. Cogdal* r Mr. Terry S. and Mrs. Katharine W. Slocum Ms. Phyllis L. Cline Mrs. Jean and Prof. Howard Osborn* i Mrs. Ruth L. Cortright Mr. Gary E. Smith Dr. Daniel Cobb Mr. Michael S. Pettersen t Miss Judith K. Cotter i Mr. Craig B. Sutter Dr. Kathleen F. and Mr. William J. Conlin* Dr. Stephen L. and Dr. Esther Portnoy* e s 50 Dr. Grady E. Coyle Dr. David C. Hunter Dr. Kevin W. Rockmann ANDANTE Ms. Mary Ann Daly Dr. Stephen Husarik Dr. Franz Roehmann Dr. Warren J. and Mrs. Marsha K. Darcy Mr. Robert H. Huss Mr. Donald Q. Rogers (under $100) Ms. Carol Capadona David Mr. Chuck Israels Mr. Robert J. and Mrs. Diana L. Rogier Dr. Daniel C. Adams Mrs. Lynne E. Denig Mr. Lansing K. Johansen Mr. Kenneth W. Rubin Mrs. Elizabeth Z. Allan Mrs. Susan B. DeWolf Mrs. Mary L. Johnson Mr. Robert J. and Mrs. Elda L. Ruckrigel Mr. Robert N. Altholz Mr. Bruce L. Dickerson Mr. Robert R. Johnson Mr. Walter W. and Mrs. Patricia A. Rust* Mr. Glenn R. Anderson Mrs. Debbi L. Dillman Mrs. Doris D. Jones Mr. John M. and Dr. Kathreen A. Ryan Ms. Tammy J. Anderson Mr. Bruce and Dr. Gail Schewitz- Doctor Mr. John E. and Mrs. Patricia L. Jordan Norman S. Ryan MD Mr. Roger W. and Mrs. Mary Lou Arends Dr. Kenneth O. Drake Mrs. Maxine G. and Mr. James B. Kaler* Mr. George J. Sanders Mr. John D. Armstrong Mr. Gerald A. and Mrs. Jean E. Drendel Dr. Dennis K. M. Kam Mr. Steven E. Schopp Dr. Kerchal F. Armstrong Mr. John G. Duker Mr. Howard E. Kemper Mr. John F. and Mrs. Nancy K. Schwegler Mr. Gordon K. and Dr. Alison E. Arnold The Reverend Monsignor Edward J. Duncan* Mrs. Mary Anne Kesler Mr. Ralph E. Shank Ms. Pamela T. Arnstein The Reverend Wyeth W. Duncan Mr. R. Edward Kiefer Ms. Gloria A. Shiff (Dec) Prof. Walter L. Arnstein Mrs. Ellen S. Eager Mrs. Judy B. Kjellander Dr. Marilynn J. Smiley Mr. Charles C. Aschbrenner Dr. David Eiseman Mr. Philip W. Klickman Mr. Philip Smith Mr. Larry Ashley Mr. Jack W. and Mrs. Carol L. Ergo Mr. David L. Krusemark Mr. Scott R. Smith and Ms. Cheryl K. Street Mr. Ralph R. Athey Ms. Dawn Fairchild Mr. David L. and Mrs. Susan E. Kuehn Mrs. Elizabeth M. Spencer Ms. Susanne L. Aultz Mr. Frederick D. Fairchild Mr. Dale A. Lammi Mr. M. Andrew Sprague* Mr. Robert S. Baile Prof. Emory M. Fanning Jr. Mrs. Barbara A. Lanham Mrs. Gail M. and Mr. Joseph Spytek Mrs. Linda D. Bailey Dr. Virginia Farmer Dr. Peter J. LaRue Mrs. Janet N. Steffy Mrs. Patricia A. Baird Dr. Linda J. Farquharson Ms. Dana LaSalle Dr. Jack M. and Mrs. Eva L. Steger Mr. Michael R. Bandman Ms. Judith A. Feutz Dr. Janet V. Leonard Mr. Wesley Q. Stelzriede Prof. Delmar K. and Mrs. Karen R. Banner Ralph T. and Ruth M. Fisher* Mrs. June C. Levy Mrs. Joan M. Strouse Ms. Marolyn G. Banner Dr. Mark L. Fonder Mrs. Sondra Gerhardt Libman Mr. Mark S. Stryker and Mrs. Candace E. Mr. Daniel P. Barach Dr. John W. Fonville and Mrs. Janet Fenner Dr. Sara de Mundo Lo* Stuart Mrs. June H. Barber Mr. John Forde Mr. David W. Madden Dr. Gary R. Sudano Mr. Gary N. Barrow Jr. and Mrs. Meghan E. Barrow Dr. Diane Foust Mr. Robert M. and Mrs. Susan B. Makeever Mr. Willie T. and Mrs. Valerian Summerville Dr. Neale K. and Mrs. Elaine Bartee Mrs. Margaret A. Frampton* Prof. W. G. and Mrs. Constance Y. Marigold MAJ Kent W. Swagler (Ret) and Mrs. Patricia Mrs. Barbara Zander Barth Dr. Andrew N. and Mrs. Lisa S. French Mrs. Ann S. Mason* Swagler Mrs. Angela M. Bates- Smith Mrs. Roxanne C. and Mr. John D. Frey* Mrs. Jennifer S. Mather Prof. Earl R. and Mrs. Janice E. Swanson* Mr. John E. Bauser Mr. Robert C. Gand Mrs. Diane Emiko Matsuura Ms. Catherine Szeto Dr. Gretchen Hieronymus Beall Mr. G. William and Mrs. Barbara Geis Mr. Richard D. McKee II Mr. Peter A. Takacs Mrs. Nancy H. Beckmann Mrs. Jennifer A. Gettel Dr. Alexander B. McLane Emile J. and Elizabeth M. Talbot Mr. James D. and Mrs. Joy Lynn Beebe Mrs. Cheryl S. Gibson Mrs. Linda K. McLane Dr. Gerald J. Throop Ms. Sandra S. Bernhard Mr. Mark C. Gillen Mr. James H. McNeely Mr. Robert L. Towner Mr. Thomas E. and Mrs. Sandra S. Bertucci Ms. Renee Gladstone Mr. Ronald D. and Mrs. Judith M. Mr. Michael A. and Mrs. Olivia L. Tremblay Mr. David E. Bilger Dr. Eva W. Gray McWilliams Prof. H. C. and Mrs. Pola Fotitch Triandis* Ms. Evelyn Blackman Mr. Carroll E. and Mrs. Wanda E. Green Mr. Charles T. and Mrs. Trudy R. Medhurst Dr. A. Robert Twardock* Mr. Walter R. and Mrs. Dolores B. Bliss Dr. Ernest N. and Mrs. Lois E. Gullerud* Mrs. Sharron P. Mies Mr. John A. Van Hook Mr. Robert O. Blissard Mr. Jack W. Hammel Mr. Craig R. and Mrs. Margaret Resce Mrs. Susan T. Van Sickle Mrs. Jacqueline K. Block Mr. David A. Harlan Milkint* Ms. Alice W. von Neumann Mrs. Susan E. Block Dr. Eve E. Harwood* Ms. Erie A. Mills Mr. James R. Waechter Dr. Charles W. Boast and Ms. Marsha Clinard Dr. James S. and Mrs. Susan Hatfield Mrs. Eleanor L. Milnes Ms. Michelle T. Walker Mr. John E. Bolz Dr. Robert H. Hearson Mr. Danlee G. Mitchell Ms. Diane K. Walkup Dr. Dalvin L. and Mrs. Jean A. Boone Mr. Morris L. Hecker Jr. and Mrs. Martha Z. Mrs. Phyllis Brill Munczek Mr. Earl J. Way Hecker* Ms. Ann E. Murray Dr. Evelyn J. Weber* Mr. Alfred E. Born and Dr. Christelle E. Menth Mr. Ronald W. and Mrs. Barbara S. Hedlund Dr. Barbara H. Noel Mr. Duane H. and Mrs. Bonnie Johansen- Dr. Kathryn Smith Bowers Dr. Gregg S. and Dr. Marlene A. Helgesen Ms. Julie A. O’Connor Werner Dr. Samuel L. Bradshaw Jr. Dr. James C. Helton Mr. Don D. and Mrs. Nikki Owens Mrs. Dorothy W. Williams* Mrs. Kathleen E. Bragle Ms. Sharon B. Hermann Mr. Joe and Mrs. Joyce Laase Peacock Mr. Richard L. Williams Dr. Peter G. and Mrs. Judith M. Braunfeld Mr. Philip H. Highfill III Dr. Karin A. Pendle Dr. Sandra L. Williams Dr. Robert G. Brewer Ms. Gaye Ann Hofer and Dr. Gregory M. Mr. John H. Pennell Mr. Keith L. Wilson Cunningham Mrs. Geraldine B. Petty Edward C. Wolf Phd Mrs. Erma Bridgewater Mr. Orland W. Holmes Ms. Ruth Pinnell Dr. Marsha Cook Woodbury* Mr. Jerome B. Brillhart Dr. Jesse E. Hopkins Jr. Mr. Douglas L. Pinney Mr. Scott A. and Mrs. Marian K. Wyatt Ms. Kareen G. Britt w Mr. Robert L. Hormell* Dr. Scott E. Preece* Mr. Roger L. and Mrs. Dolores G. Mr. C. Wayne Brodkorb i Mr. Don Hough Ms. Phyllis Rappeport Yarbrough* Mr. Joe and Mrs. Kathleen Brown n t Ms. Alice A. Hove Mrs. Alexis G. Rasley Mr. Robert H. Brown Dr. Gerald D. and Ms. Donna C. Buckler e Mr. Fred M. Hubbell Dr. Wallace J. Rave r Mr. Robert D. Huffington Mr. Kim R. Richmond Mrs. Paula K. Bunn Ms. Jane Paul Hummel Mrs. Lois H. Richter Dr. Bartlett R. and Mrs. Barbara D. Butler 2 Mrs. Linda S. Buzard 0 0 6 51 Mrs. Luana M. and Mr. Charles M. Byte Mrs. Carole J. Eckert Mrs. Helen E. Healy Dr. Gerald E. and Mrs. Ellen Green Dr. F. Kent Campbell Mr. Philip W. Eherenman Mr. David L. and Mrs. Michele C. Hecht Kuroghlian Lisa S. Caramia Mrs. Cheryl M. Einsweiler Ms. Margarita L. Heisserer Mrs. Joyce M. Laible Dr. Milburn E. Carey Dr. Barry L. and Mrs. Terri L. Ellis Mrs. Nona J. Heitmann Mr. Raymond (Dec) and Mrs. Irene E. Dr. Jon O. Carlson Mr. Douglas G. and Mrs. Ellen R. Elrick Mr. John W. Helper Lamkin Dr. Harry H. Carter Jr. and Mrs. Ellen B. Dr. Albert C. England III and Mrs. Barbara A. Dr. Donald M. and Mrs. Margaret F. Mr. F. W. and Mrs. M. C. Lancaster Carter England* Henderson Dr. Jean N. Landers Dr. Philip S. Cary Mr. Earl Eugene Evans Mrs. Margaret E. Henderson Ms. Sandra L. Lane Mrs. Mary M. Cash Dr. Kenneth E. Fahsbender Mr. Donald G. and Mrs. Janice I. Henrickson Mrs. Bonnie A. Larner Ms. Clara E. Castelo Ms. Marilynn P. Farnham Mr. Harvey A. Hermann Jr. Dr. Richard C. Larson Dr. Joseph S. Ceo Ms. Esther E. Fay Mrs. Sally K. Hermann Mr. Kenneth M. Larvenz Ms. Yoline W. Chandler Mrs. Sharon Fekete Mr. Steven K. Hesla Dr. Elizabeth L. Lawrence Dr. Carl E. Chapman Mr. Scott D. Feldhausen Ms. Cynthia A. Heuer Ms. Sunny J. Lawrence Mr. Scott Chase Mr. Jack V. and Mrs. Joan T. Feldpausch Mr. Darren S. Hicks Prof. David and Mrs. Betty Lazarus* Ms. Judy L. Chastain Mr. Ron Fink Dr. Douglas M. Hill Sister Mary F. Leahy Mr. Thomas E. Cherry Mrs. Janice L. Fisher Mrs. Carol K. and Mr. Delmar L. Hillman Mrs. Theta Lee Ms. Joanne A. Chorpening Mr. Edward A. Fitzgerald Mrs. Marilyn L. Holt* Mr. Bradley S. Leeb Dr. Alisa Clapp-Itnyre Dr. Robert J. Fleisher Mrs. Abbie O. Hubbell Mrs. Florence K. Leigh Mrs. Jean A. Clarke Dr. Nancy P. Fleming Mr. Ronald F. Hughes Jr. Dr. John W. Leman Mrs. Katherine M. Cloonen Mrs. Margaret A. Fotou Mr. William H. Hughes Jr. Mr. John D. Leslie Dr. Dale Cockrell Mrs. Carolyn J. Foy-Stromberg Mr. Allen E. Hunter Dr. Victoria L. Levine Mr. Garrett Rigney Cofield Prof. Marvin and Mrs. Matilda Frankel* Mrs. Ingrid Hutchings* Mr. Jeffrey E. Lindberg Dr. Richard Scott Cohen Mr. Larry L. Franklin Mrs. Janice C. Impey Dr. Thomas Lloyd Ms. Nina M. Cole Dr. L. Thomas Fredrickson Mr. Frederick W. and Mrs. Lois S. Irion Mrs. Susan A. Lobdell* Mr. Morris and Mrs. Aleta Collier Mrs. Gwynne H. French Dr. Charles F. Isaacson Mrs. Virginia K. Lovett Mr. James T. and Mrs. Paula R. Conder Mr. Donald W. and Mrs. Beverly A. Fretty Dr. Barbara G. Jackson Mrs. Klara Lueschen Mr. Mark A. Conley Prof. Stanley and Mrs. Frances Friedman Dr. David C. Jacobsen Dr. Linda S. Mack Mr. Curtis O. Cooper Ms. Judith Kaye Fulton Mr. Timothy D. James Mr. Boyd A. Mackus Ms. Beverly J. Cottrell Mr. John D. Funston and Mrs. Jenna D. Mrs. Jean H. Jamison Dr. James T. and Mrs. Tammara D. Madeja Mrs. Rebecca T. Courington Finch Mrs. Kathryn A. Janicek Mrs. Helen A. Magnuski* Dr. Victoria L. Covington Mrs. Mary Margaret Gaddy Mrs. Laurine Jannusch Dr. David M. Main* Ms. Mina M. Coy Dr. Stephen L. and Mrs. Stephanie R. Gage Mr. William T. and Dr. Julie D. Jastrow Dr. Joseph and Mrs. Leslie A. Manfredo Ms. Betty J. Cravens Mrs. Charlene W. Gates Mr. Aaron L. Johnson Mrs. Guileen P. Manuel Mrs. Jeanne E. Craver and Mr. Charles C. Mr. Thomas Lee Gauger Dr. David Lee Johnson Mrs. Stevi A. Marks Craver Mrs. Marian B. Gebhardt Dr. James R. Johnson Ms. Jane R. Marsh Mrs. Arlene J. Crawford Mr. Gregory L. and Mrs. Sandra P. Gilboe Mrs. Helen K. and Mr. Parker N. Johnstone Mrs. Jean C. Marshall Mrs. Rebecca Kaplan Cytron Mrs. Karen L. Given Mrs. Ruth M. Jones Dr. Marilyn M. and Mr. Jeffrey L. Marshall Dr. James and Mrs. Gail A. Dapogny Dr. Valerie Woodring and Dr. Christopher Mr. Richard E. Jorgensen Ms. Anne S. Martel Dr. Daniel J. Dauner Goertzen Mrs. Donna L. Kaelter Prof. Chris T. Martens Ms. Deborah M. Day* Mr. Herbert Goldhor* Ms. Karen Kaiser Mrs. Marian S. Martin Dr. Michael T. and Mrs. Joyce L. Day Mrs. Elizabeth W. and Mr. Edwin L. Mr. Robert A. Kaiser Dr. Jameson N. Marvin Dr. Larry M. DeBrock Goldwasser* Prof. Marianne E. Kalinke Mrs. Ann K. Mason Mr. Richard N. DeLong* Mr. Stanley L. Gorbatkin Mrs. Elizabeth A. Kamps Ms. Lezlee A. Masson Mr. William E. DeMont Mr. Daniel A. Gosling Mrs. Nanci L. Karlin Mrs. Nancy V. Matchett Mrs. Louise L. and Mr. Jack Derning Mr. Frank L. Gould Jr. and The Reverend Mrs. Lois L. Kasznia Mrs. Carolynne B. Mathis Mr. Clement R. DeRosa Karen N. Gould Dr. Byron F. Kauffman Mrs. Eva M. Maxwell Mr. Edmund J. DeWan Mrs. Nanette R. Grant Mrs. Lois D. Kazan Mrs. Carolyn R. May Dr. Donald R. Dickerson Ms. Denise D. Green Dr. Brenda E. Kee Mr. Lutz L. Mayer Dr. Christopher and Mrs. Karen J. Di Santo Dr. Richard D. Green Dr. Robert P. Keener Ms. Mary E. Mayhew Mrs. Oscar H. Dodson* Mr. Charles W. Gregg Mrs. Patricia C. Keim Mr. Donald O. Maylath* Mr. C. William and Mrs. Kay W. Douglass Mrs. Lynn B. Gros Mr. Jeremy Niles Kempton Dr. David McChesney Mr. Donald W. Downs Dr. Margaret Rosso and Dr. Michael Mr. James E. and Mrs. Susan M. Ketch Mrs. Nalda N. McCollough Grossman* Ms. Darcy D. Drexler Mrs. Nina S. Key Mr. James L. McDonald Mrs. Margaret S. Gunderson Mr. Howard S. Ducoff Mr. George M. and Mrs. Patricia D. Kichinko Mr. Austin J. McDowell Mrs. Jeanne M. Haack Mrs. Helen F. Duffield (Dec) Mrs. Elizabeth E. Kirkpatrick Mr. William J. and Mrs. Brenda B. Mrs. Marilyn J. Hall Mrs. Barbara M. Duffy Mr. James and Mrs. Joan Skinner Knapp McNeiland Dr. Alice M. Hanson Ms. Marilyn M. Duginger Mr. Jon W. Knudson Mrs. Donna F. McPherson* s Mrs. Sharon L. Hardesty o Ms. Pamela J. Dunleavy Dr. David W. Knutson Dr. Mardia Melroy Ms. Teresa E. Hargrove n Mrs. Edith A. Dwinnells Mrs. Mayola C. Kolbe Dr. Maria P. Merkelo Mr. Frank B. Harmantas o Mr. Dwight E. Dyer Mr. George S. Kosmach Mr. C. J. Merrill r Dr. Ruthann Harrison i Mr. Austin A. R. Dyson Mrs. Kathleen A. Krepel Mr. James K. Merwin Jr. and Mrs. Kathleen Mrs. LuAnn E. Hayes t Mrs. Jeannette J. Ebelhar Mrs. Lois Krizan L. Merwin i Mr. Jason P. Healey William S. Miller and Christine Miller e s 52 Mr. Keith A. Mitchell Mr. Scott D. Roeder Ms. Mary G. Stonecipher Mrs. Zoe R. Worner Mrs. Harriet A. Moir Dr. Carl S. Rogers Barbara J. Stover Mr. H. W. Wyld Jr. and Mrs. Jeanne-Marie Mr. Milton R. Mojzis Mrs. Elizabeth P. Rogers* Ms. Merry B. Stover Wyld Mr. Maurice E. Monhardt Mr. Jeffrey L. and Mrs. Joyce Kim- Rohrer Ms. Patricia Stroh Prof. Thomas Alexander and Mrs. Catherine Mr. Albert L. Moore Dr. Brenda R. Root Mrs. Blanche J. Sudman* Wiles Yancey* Mrs. Nancy F. and Dr. David W. Morse* Mrs. Mary A. Rosborough Mr. J. David Sulser Mr. Mickey W. Young Mr. Theodore F. and Mrs. Joan Lipke Mueller Mrs. Linda F. Rosen Mrs. Sheryl M. Summerell Mr. Robert E. Yung Dr. Walter L. and Ms. Jane L. Myers* Prof. Barak Rosenshine Mr. Matthew S. Talbott Dr. Joyce R. Zastrow Ms. Joyce G. Nagel* Mrs. Devorah B. Ross Dr. Paula G. Taquet- Woolfolk Ms. Amy J. Zussman Mr. Larry G. Neemann Mrs. Mary Higley Rosser Mrs. Vivian B. Terrill Dr. Jo Ann N. Nelson Mrs. Nina Rubel Mrs. Catharine A. Thieme MATCHING GIFTS Mrs. Louise S. Nelson Mrs. Barbara B. Rudolph Mrs. Jacqueline LaRue Thomas Accenture Foundation, Inc. Mrs. Rosemary F. Nelson Mrs. Cheryl Lane Ryan Dr. Robert F. Thomas Jr. American International Group, Inc. Mrs. Kim J. Newman Mrs. Marilyn R. Sameh Mrs. Susan Kuriga Thorne Ball Corporation Mrs. Patricia S. Newman Dr. Lori K. Sanders Mr. David P. Thurmaier Bank One Foundation Mr. Steven N. Ng Mrs. Jeanne D. and Mr. Ray K. Sasaki Ouida Tisdall MD BP Amoco Foundation Mr. William J. Nicholls Mr. David L. Saunders Dr. Donald C. Todd Caraustar Dr. Eugene D. Novotney Ms. Marlys J. Scarbrough Dr. Russell E. Todres Caterpillar Foundation Mr. Lee Olson Mr. Steven T. and Mrs. Jane Scherer Mrs. Maryellen T. Tomassetti Fidelity Foundation Dr. Lesley C. Olson Mr. Ralph S. Schlesinger Mrs. Marie Griffith Tompkins First Midwest Bancorp, Inc. Mr. Dante J. (Dec) and Mrs. Kay A. Orfei Mrs. Shirley J. Schnizer Mrs. Barbara B. Toney General Motors Corporation Mr. Rick K. Orr* Mrs. Jane W. Schoeniger Mr. John W. and Mrs. Charlotte G. Trautwein IBM Matching Grants Program Dr. David C. Osterlund Dr. Karl- Heinz and Mrs. Dorothy Schoeps Dr. Tod M. and Mrs. Monica G. Trimble J. P. Morgan Chase Foundation Mr. Thomas W. O’Toole Mr. Jeff A. Schroeder Dr. Jill L. Trinka Leo Burnett Company, Inc. Ms. Janet L. Outis Mrs. Karen Schulman- Bear Dr. Max R. and Mrs. Sue C. Tromblee Motorola Foundation Ms. Patrice M. Pakiz Mrs. Glenda L. Schultz Dr. Lynn M. and Mrs. Nancy S. Trowbridge Pfizer Foundation Dr. Susan Parisi Mrs. Gail N. Seidman Dr. L. Deane Trumble SBC Foundation Mrs. Karen D. Parrack Mr. Scott H. and Mrs. Connie L. Severance Dr. Gary L. Unruh Telcordia Technologies Dr. Lisa D. Patterson Mr. Dennis A. Shaul Mr. Walter E. Urben Texas Instruments Foundation Mrs. Gail Peine Dr. Randall C. Sheets Dr. Michael G. Vaillancourt The Northern Trust Company Ms. Susan B. Peppercorn Mrs. Kristen Shiner- McGuire Dr. John D. Van der Slice Verizon Foundation Mr. Daniel J. and Mrs. Marjorie A. Perrino* Mr. Dale A. and Mrs. Nancee A. Shipe Mrs. Julia V. Van Dyke Wachovia Foundation Mrs. Aiko K. Perry Ms. Jill Shires Mr. Wayne Van Dyke Dr. Linda W. Perry Mrs. Faraba G. Shirley Mrs. Emily Vaniman CORPORATIONS, FOUNDATIONS, Mrs. Janice L. Petri* Dr. Blaine F. Shover Mrs. Susanne M. Veal Mrs. Amy L. Phelps Ms. Mary L. Sigler Mrs. Joan M. Vogen ORGANIZATIONS Dr. Robert W. Placek Dr. Ann L. Silverberg Mrs. Sandra Smith Volk* Andrew George De Grado Foundation, Inc. Mr. Alan M. Porter Mr. Fay M. Sims* Ms. Cheryl E. Hein Walters Ann and Gordon Getty Foundation Ms. Alice R. Preves Dr. J. Taylor and Dr. Jo Ann M. Sims Dr. David Ward-Steinman Bay-Com Enterprises Mr. George H. Pro Prof. James B. Sinclair* Mr. Arthur S. Wasik Chimney’s String Resources Mr. Leo H. Provost Mrs. Patricia S. Skarr Prof. Albert Wattenberg Community Foundation of East Central Illinois Mrs. Karyn A. Quandt Ms. Sharen R. Slade Mrs. Bernice S. Wax Community Foundation of Champaign Mr. Roland H. Raffel Mrs. Paula A. and Mr. Michael J. Slinger Mr. Charles S. and Mrs. Tamar A. Weaver County Academy Memorial Scholarship Winifred Ehler Ramstad Dr. William C. Smiley Dr. Calvin E. Weber Fund Dr. W. Donald Rankin Ms. Deidre A. Smith Mrs. Mary Jane Weber Golden Lyre Foundation Illinois Federation Mr. Stanley E. and Mrs. Zelma Ransom Dr. James G. Smith Miss Ruth E. Weinard of Music Ms. Maureen V. Reagan Mr. Phillip R. Smith Mrs. Susan M. Werner Hermann Music Teaching Mr. Donald O. Reddick Jr. Mrs. Constance W. Solberg Ms. Celeste E. Whiting Illinois Opera Theatre Enthusiasts Ms. Frances S. Reedy Dr. Theodore Solis Ms. Thelma Willett Joan Strouse Music Studio Dr. Sam and Mrs. Susan E. Reese Mr. Robert V. Sperlik Jr.* Mrs. Beverly Ann Williams M. R. Bauer Foundation Mrs. Irma Reiner Ms. Nancy S. Stagg Mr. Rod and Mrs. Sue Williams Northbrook Chapter SPEBSOSA, Inc. Mr. Beau A. Renshaw Mrs. Diane H. Staub* Dr. Jeffrey S. Wilson Opera Southwest Mrs. Barbara J. Rice Mrs. Joan K. Stauffer Mr. Michael H. Wilson Paxton Farms, Inc. Mr. Joe D. and Mrs. Patricia L. Rice Dr. Harry M. Steckman Mr. Dennis D. Windler Roger and Dolores Yarbrough Foundation Mr. Thomas L. Rice The Honorable Robert J. and Mrs. Sharon W. Mrs. Jane R. Wineman Smith Walbridge Clinics & Band Products w Mr. Adam C. Richardson Steigmann* Mrs. Ann R. Winget Sound Enterprises Dr. David B. Stein i Dr. Selma K. Richardson Mrs. Betty S. Wise and Mr. Clark E. Wise Sound Sleeve Performance Products AKA n Mr. Paul S. Riegel Mrs. Isabelle Kole Stein Mrs. Rita S. Wise Curry Precision Mouthpieces t Dr. Robert E. Ritschel Mrs. Krista J. Steller Mrs. Kim Y. Wittel St. Matthew Roman Catholic Congregation e Mr. Dean A. and Mrs. Mary Ritzmann Mr. D. Grier Stephenson Jr. Ms. Trudy Fraase Wolf Village Music Store r Mr. Bruce C. and Mrs. Faith Roberts Mr. Robert J. Stiehl Mr. A. Scott Wood The E. F. Wildermuth Foundation Dr. David K. Stigberg 2 Dr. Schuyler W. and Mrs. Linda K. Robinson Mrs. Rose Marie Wood The Presser Foundation 0 Prof. Victor J. and Ms. Susan C. Stone* 0 6 53 ILLINOIS WIND SYMPHONY IN CONCERT AT CARNEGIE HALL

8:00 p.m. Friday February 17, 2006 Carnegie Hall

Conductor, James F. Keene

GUEST ARTISTS The Illinois Brass Quintet The Moersch-Flores Percussion Duo

An official event of the 2006 year-long celebration of the 75th Anniversary of the College of Fine and Applied Arts at the University of Illinois at Champaign-Urbana.

Nonprofit Org. U.S. Postage PAID Permit No. 75 Champaign, IL 1114 West Nevada Street Urbana, Illinois 61801

ADDRESS SERVICE REQUESTED