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ELIZABETH TORGERSON-LAMARK Hoedown in Honeoye Falls

Following move-in day, approximately 135 fresh- through the dean of students office and the men and resident advisers put on their dancin’ Eastman Orientation Committee included a shoes and traveled down to Honeoye Falls to banana split party, movie night, a dance, and an kick up their heels at the annual barn dance almost-formal dinner where student orientation that is a part of Eastman’s fall orientation pro- committee members in formal attire served gram. Other ice-breaking activities arranged freshmen at a candlelight dinner. ❧ 2001002 Eastman Notes 11/9/01 1:01 AM Page 1

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VOL. 20/NO. 24 FALL 2001 FEATURES REPORT ON GIVING Published twice a year by the Office of 2 When I was your age 21 Eastman Fund Communications, Eastman School of Music, Remain open to the richness of life’s 26 Gibbs Street, Rochester, NY 14604, 22 Matching gift companies possibilities, urges commencement 585-274-1040. speaker Ellen Koskoff 24 Eastman faculty and staff Email: [email protected] 4 Leading far beyond Gibbs Street 27 Restricted giving Eastman faculty members’ talents 28 Those recognized by your gifts and guidance reach national and Susan Robertson international forums Associate Director for Communications 6 The orchestra of the future DEPARTMENT NEWS Chicago Symphony president Allison Mayer shares his organization’s plan for 30 Composition Editor community engagement 31 Faculty engagements Lynn Williams 11 Variations on a theme by Horowitz 32 Theory Brianna Winters Eastman students reflect on ideas Christina Zikos by Shouse keynote speaker 33 Keyboard Contributing Writers 34 Music Education Kurt Brownell SCHOOL NEWS 35 A note from the School Historian Gelfand-Piper 36 Jazz Studies & Contemporary Media Amy Glossner 13 Oscar-winning composer and Gary Lee Heard U.S. senator visit Eastman Theatre 37 Humanities Louis Ouzer 14 Eastman to host conference for John Smillie EWE’s 50th Elizabeth Torgerson-Lamark IN TRIBUTE Contributing Photographers 15 Fennell inducted into Hall of Fame 38 Mitchell Stern Performances and master classes Steve Boerner round out John Adams’ Eastman visit In memoriam Graphic Design 16 Eastman hosts 4th annual Lotte Lenya competition – and provides a winner NOTES Students perform Miller Theatre finale 39 Alumni notes Welcome new faculty 41 Oboe students arrange for a 17 McPartland jazz concert features momentous “Memo” for Killmer Roberta Piket 42 Alumni join Fennell for mini-reunions ON THE COVER Rouse clarinet concerto is premiered 46 Faculty notes The Force on the podium 18 Eastman establishes Institute for Music Leadership Student notes John Williams, conductor and Oscar- winning composer for many of the most A healthy exchange, here and abroad 47 Bassoonists abound popular films in movie history, presented 19 Eddins guest conducts and receives Corrections an unforgettable sampling of his life’s work award at Eastman to a sold-out audience in Eastman Theatre in April. Story, page 13. Eastman Chamber Music Society debuts in New York City Saxophonist Lee Konitz visits our jazz department 20 Kneisel competition still strong Elizabeth Marvin named dean of academic affairs

PHOTO BY GELFAND-PIPER Eastman marks Sept. 11 tragedy with reflection, volunteerism

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way baby grand in the center of the living room – so there would be no mistake as to its importance – I was expected to carry on the tradition. And, of course, I was also When I was expected to marry – hopefully a doctor like my father – and to have children. It was important, my father said, for a woman to have an education and career, because, later in life, he would hint, if your age something happened to my husband – like if he dropped dead or left me for another woman – I’d have something to fall back Remain open to the richness of life’s possibilities, on. I’d have to do it all. After all, my father, who had lived in the same house for 30 urges commencement speaker Ellen Koskoff years, still claimed not to know where the dishes were. Clearly, someone had taken care of him. My mother, a musician and playwright, who died when I was 10, and later my stepmother, who worked full-time BY ELLEN KOSKOFF as a nurse, had done it all, and so could I. So, with this plan in mind, I practiced hen Jim Undercofler called me earlier this before and after school, gave recitals, and week and told me about William Warfield’s sur- went to music camps in the summer. I was a pretty good kid then. I tried to listen to gery, he asked me if I would speak in his place my parents. What they wanted for me was today, and I must admit that my first thought also what I wanted. Anyway, doing music made me special; it separated me some- was, “Wow! What an honor, to be the first back- what from my fellow classmates in grade up call to William Warfield!” My second thought was, “Uh-oh!! Do I school and later in high school. I was dif- W ferent, a little outside the crowd, and I have to sing!?” came to like that. So, I began to think: What will I say? Well, if I had been listening By the time I entered college I knew that music, that is, Western classical at my own graduation what would I have wanted to hear? music, had a high value in my family. My father would smile proudly at the dinner table when I would proclaim, “There is no COMMENCEMENT 2001 music after Bach,” or “Ach! Rock music – it’s all just I, IV, V, I anyway!” One branch What was I like at your age? What were of our family, the Newmans, had even my expectations about life? Assuming I made it big in Hollywood, writing music would have listened, what would I have for the movies. Although I would often wanted to hear someone say when I was brag about being related to Hollywood your age? Well, probably the last thing I types, I really thought, “What’s the matter would have wanted to hear was someone with them? Why did they sell out? Could- beginning a sentence with, “When I was n’t they make it doing real music?” your age,” because I knew a lecture would On the one hand I was pretty proud of be coming. But here goes anyway … my abilities and my noble pursuit of clas- When I was your age I thought that I sical music. I worked hard, practiced long would be a performer and teacher; a hours, and did my theory homework. But, pianist, perhaps, with a studio in my on the other hand, there was this issue of house; that I would soon marry, have chil- having perfect pitch. It was a big deal to dren, and – I must admit the details were me then. I began to take chances: I would fuzzy here – live happily ever after. Some- show up to ear training class having not how it would all work out because from even opened the book of exercises; after the age of 3 when my parents discovered I all, I could sight-read this stuff. I began to had perfect pitch, I knew I wanted to let my friends sit next to me when we had become a musician. As the granddaughter dictation so they could copy from my and niece of composers, and the daughter GARY LEE HEARD paper. I began to memorize the key rela- of musical parents who placed the Stein- Ellen Koskoff tionships of all of the listenings assigned

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for my survey classes, rather than listen- Friedan. During this time, I began to see a about ethnomusicology, and discovered ing to whole movements. After all, with “bigger picture.” I became politicized. I much to my delight that I could spend my perfect pitch, it was a piece of cake. I moved to New York and began working on life playing with ideas, talking with peo- began to get cocky. a master’s degree at Columbia University. ple, writing, being political, performing I was even kicked out of a theory class I was still practicing and giving concerts, through teaching, and still love the music because of my “attitude.” We had to learn but by now, I had switched to the harpsi- of Bach, even if I didn’t love everything something called “associated repertoire” chord, giving even more credence to the about his social context. Wow! I didn’t in ear training. When we practiced notion that there really was no music have to give up anything! I just had to singing intervals we were supposed to after Bach. rearrange my plan a bit. associate them to familiar songs, so in Somehow, one day, even that phrase Now, don’t think that all of this “finding class, when the professor played an began to ring hollow: At times while prac- myself” was always so easy. There were a octave, we were supposed to sing it, iden- ticing, I would start to catch myself think- lot of setbacks, moments of struggle, and tify the interval, and then say, “Some- ing that even though he did write great real depression. There were many times where Over the Rainbow.” A major sev- music, Bach was, after all, a dead white when I threatened to leave it all and open enth was “Bali Ha’i,” and a major sixth male European composer. Politics and up a restaurant, or become a lawyer, or – was “My Bonnie Lies Over the Ocean,” music didn’t seem to make good bedfel- in my darkest moments – a computer pro- and so forth. The augmented fourth was, lows so I forced such ideas from my mind grammer! And I’m not sure even now how of course, “Maria” (The Simpsons’ theme and continued practicing. or why I persisted, except that whenever song hadn’t been written then). Of course, things got bad, I would get really angry I never took any of this too seriously, omewhere along the way, though, I and that energy would keep me going. because I had perfect pitch and could eas- began to discover that I liked doing The reason why I’ve gone into this in ily identify all of those intervals without something else besides practicing, such detail is to state the obvious: Life is the stupid associated repertoire. something that gave me great full of surprises. At any one moment, you So, one day in class, the professor called Spleasure: I liked to play with ideas, and I can’t really know or ever control what’s on me, and he played a minor third on the liked to write. I also discovered that I going to happen next. That can be a fright- piano. I was, of course, expected to say, liked to talk to people. I wanted to under- ening idea, or a liberating one. It’s good to “Greensleeves.” But instead, I just said, stand what kinds of music they liked or have a plan, but one that is flexible, that “Minor third.” He waited expectantly and didn’t like, and why. Soon, I began to like keeps you open to other possibilities. I repeated, “It’s a minor third.” He began playing with ideas and talking with peo- to purse his lips together. “Well?? What ple even better than playing the harpsi- nd, oh! What happened to the else?” To which I replied: “I see no reason chord. I went back to school. plan of husband and children? why I have to say ‘Greensleeves’ if I know It was now 1971 and I enrolled in a Well, there were surprises there, it’s a minor third.” To which he replied, PhD program in Musicology at the Uni- too, like not getting married “Well, how do you know it’s really a minor versity of Pittsburgh intent on studying – Auntil I was 35. I found the right person, third?” To which I replied, savoring my big what else? – the keyboard works of Bach. one who understands my love of music chance, “Because I have perfect pitch!” Then, a truly amazing thing happened – a and my commitment to scholarship and After a formal apology, I was allowed back total surprise. One day, while walking teaching because he shares those ideals, into sophomore theory, but I was already down the aisles at the music library, out of too. And, he also knows what it takes to labeled “a problem.” the corner of my eye, completely by acci- keep going even when things seem bleak. dent, I saw a yellow book. It was The He even knows where the dishes are n short, when I was your age, I was Anthropology of Music by Alan Merriam. because he washes them! pretty arrogant and closed to life’s I’m not sure why I picked it off the shelf, And, of course there was the surprise of possibilities. I knew nothing, and did- but I do know that it changed me forever. gamelan, our ensemble of Indonesian n’t want to know anything about Perhaps the book appeared because I was music. I had pretty much given up per- Iother people’s music, or for that matter, ready to hear what it had to say. forming when gamelan literally fell into about other people. So what happened? I began to read this book, a book about my lap. About 10 years ago, a close friend Well, along the way, many things hap- music in its social context, about why peo- at Bowling Green State University in pened to change me. Many of them were ple have music at all, about how people Ohio wanted to sell her school’s gamelan surprises; some things changed us all. use music to communicate with their angklung to move up to a flashier ensem- First, there was the Vietnam War, which gods, about how and why certain people ble. So she called me and said, “Don’t you was just beginning to heat up when I was become musicians, about how music is think it’s time that the Eastman School your age. My friends and I became politi- transmitted to the next generation, and had a gamelan?” “Sure,” I said, “But who’s cally active, marching for McGovern and about why people think their music is going to teach it?” She said, “Don’t worry, for peace. Then, there was the women’s beautiful, and at that moment, I experi- you’ll learn.” movement, a movement that actually enced the closest thing to a religious con- So, we bought the ensemble and I did owed a great deal to the courage and version that I probably ever will have. learn, through the efforts of wonderful activism of the civil rights leaders, and to Well, the rest, as they say, is history. I teachers from Bali and from Rochester such thinkers and activists as Martin raced through that book and countless who have come to the School and shared Luther King, Gloria Steinem, and Betty others and went on to find out a lot more TURN TO PAGE 4 ➧

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➧ FROM PAGE 3 with us the beauties and intricacies of Balinese music. But what I have treas- ured most is, through gamelan, experienc- Leading far ing again why it was that I became a musician in the first place. I am truly grateful to gamelan and to the many won- derful Eastman musicians with whom I have played, for they have helped me experience family, hard work, and the beyond Gibbs St. sheer joy of playing music again. And, oh! I lost my perfect pitch one day when I was around 40 – everything Eastman faculty members’ talents and guidance sounds one half step higher now than it really is. It seems that when you age, your reach national and international forums body undergoes a lot of physical changes, especially your ears. So, so much for that! I guess it wasn’t perfect after all. When I was your age, I wanted it all – and I still do. The mistake I made then BY CHRISTINA ZIKOS was wanting it all in a certain order, wanting it to be a certain way. By locking ather than merely espousing the School’s educational myself into a plan, I remained closed to ideals of artistry, scholarship, and leadership, East- the richness of life’s possibilities. It was only opening up to other people, to other man’s faculty exemplifies them. In addition to their music, to other ideas, that I learned that it award-winning talent and sought-after teaching abili- doesn’t really matter what, or when, or why you do what you must do, but that ties, many of the School’s faculty members hold key you simply do it – in a way that makes positions in one or more of the hundreds of professional music sense to you. R There are many ways to think, to do, organizations that exist nationally and internationally. and to be, and you must find ways that fit From niche groups such as the Society for Seventeenth-Century your own spirit. If you do, you may dis- cover that life gets better as you get older Music to the burgeoning 90,000-member National Association for because you know more – about the world, about other people, and about your- Music Education (MENC), these organiza- self. For me, who I am and what I do have tions offer music professionals opportuni- at last come together. They will for you, ties to convene with others from around too, if you remain open to people and pos- the world who share similar interests, and sibilities, for they will enrich you in ways to bring back information to enrich the you cannot imagine now. “Eastman experience” further. When I was your age, I wish someone Participants in these organizations gen- had said to me: Honor and listen to your erally work with no remuneration, often parents, your teachers, your friends, and first serving in state or regional chapters colleagues, because they can teach you a or small committees before being nomi- great deal. Remain open to them, to their nated or running for national executive ideas, and to their music, even if they positions. Even without monetary compen- Jean Barr John Beck sound strange, foreign, or odd. And don’t sation, participation in such “extracurricu- hold onto a plan when it’s outlived its use- lar activities” has other rewards. According in these organizations helps us recruit the fulness. But, most of all, honor and listen to Elizabeth Marvin, Eastman’s dean of highest caliber students.” to yourself. Trust most in your own academic affairs and new president of the Lending their time and talents to vari- instincts, for they will tell you what is national Society for Music Theory,“Taking ous professional music organizations are right for you. leadership roles in national organizations the following Eastman faculty members: Knowing how I was at your age, I’m not puts Eastman faculty in the position of sure I would have listened. I hope you are. being able to influence and shape our Jean Barr, professor of accompanying and Thank you, and good luck! ❧ fields of expertise.” Marvin also notes that, chamber music; co-chair, chamber music in addition to bringing together one’s department; director, Piano Accompany- Ellen Koskoff is Associate Professor of Eth- peers, “Professional organizations attract ing & Chamber Music Degree Program nomusicology at Eastman. serious students, and Eastman’s visibility • Chair, collaborative performance advi-

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Jennifer Brown Hans Davidsson Richard F. Grunow Daniel Harrison Richard Killmer Ralph Locke

sory committee, Music Teachers’ • Editorial board, Journal of Musicologi- National Association (MTNA) cal Research • Editorial board, Piano & Keyboard • Editorial board, American Music, Soci- magazine ety for American Music • Editorial board and past moderator (i.e., John Beck, professor of percussion editor-in-chief), AMS-L (the e-mail list of • Past president, Percussive Arts Society the American Musicological Society) • Editorial board, H-musTXT (the e-mail Louis Bergonzi, associate professor of music list of Lyrica Society for Music-Text education (strings) Relations) • Immediate past president, American String Teachers Association William McIver Martin Scherzinger John Marcellus, professor of trombone; chair, • Editorial committee, Journal of woodwind, brass, & percussion department Research in String Education • Reviewer, Handbook of Music Educa- • Founding board member, past president, tion Research (on press) International Trombone Association Bonita Boyd, professor of flute • Past president, International Flute Daniel Harrison, associate professor of Elizabeth W. Marvin, dean of academic Association music, the College Music Program; associ- affairs; professor of music theory ate professor of theory, ESM (pt) • President, Society for Music Theory Jennifer Brown, assistant professor of • Editor, Music Theory Spectrum, Society • Editorial board, University of Rochester music, the College Music Program; assis- for Music Theory Press tant professor of musicology, ESM (pt) • Past president, Music Theory Society of • Secretary, Society for Seventeenth- David Headlam, associate professor of theory New York State Century Music • Editorial board, Music Theory • Council member, American Musicologi- Spectrum,Society for Music Theory Ernestine McHugh, associate professor of cal Society anthropology and religion, humanities • Past editor, Gordon & Breach Musicol- Richard Killmer, professor of oboe department ogy Book Series • Officer, International Double Reed Society • Book review editor, the Himalayan • Past president, American Musicological Research Bulletin Society, Southern Chapter Ellen Koskoff, associate professor of ethno- musicology William McIver, professor of voice Hans Davidsson, associate professor of organ • President, Society for Ethnomusicology • President-elect, National Association of • General artistic and research director, Teachers of Singing Göteborg Organ Art Center (GOArt), Peter Kurau, associate professor of horn Göteborg University, Sweden • Treasurer, International Horn Society Robert Morris, professor of composition; • Board member, Westfield Center of chair, composition department Early Keyboard Studies, Seattle Ralph Locke, professor of musicology; chair, • Vice president, Society for Music Theory musicology department • Chair, editorial board; co-editor, Perspec- Richard F. Grunow, professor of music educa- • Senior editor, Eastman Studies in tives of New Music tion; chair, music education department Music, a book series published by the • Editorial board, Journal of Music Theory • Board member, Gordon Institute for University of Rochester Press • Contributing editor, Open Space magazine Music Learning (GIML) • Editorial board, University of Rochester • Editorial board, Journal of Band Press Martin Scherzinger, assistant professor of Research (1997) • Editorial board, the Encyclopedia of musicology • Editorial board, Journal of Teacher New York State, to be published by • Program committee, Music Theory Soci- Education (2000) Syracuse University Press TURN TO PAGE 6 ➧

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➧ FROM PAGE 5 ety of New York State (MTSNYS) • Senior editorial board, Current Musicol- ogy (1993–2000) • Editorial reader, International Council The orchestra for Traditional Music (ICTM) • Editorial reader, Perspectives of New Music • Diversity committee, Society for Music Theory (SMT) of the future • Associate member, South African Music Rights Organization (SAMRO) Chicago Symphony Orchestra Association Kerala J. Snyder, professor emerita of musicology president shares his organization’s plan • Editor-in-chief, Journal of Seventeenth- Century Music for community engagement • General editor (with Christoph Wolff), Dieterich Buxtehude: The Collected Works • Publications committee, American Musicological Society Following are excerpts from introductory dramatically improving the acoustics of • Advisory board member, American Bach remarks and the second lecture in the Orchestra Hall, they made Symphony Society Catherine Filene Shouse Guest Speaker Center a place that would welcome all series. members of the Chicago community. James Undercofler, director and dean, ESM; Mr. Fogel has done an incredible job in professor of music education (pt) broadening the priorities of one of Amer- • Chairman, resources development, Introduction ica’s oldest orchestras. Given his efforts to American Music Center dramatically alter and improve the future • Rochester Philharmonic Orchestra BY DAVID BEAUCHESNE, of the CSO and its role in the city life of board leadership FORMER ASSISTANT DIRECTOR, ALP Chicago, it is appropriate that today Mr. • Secretary-Treasurer, New York State Fogel will speak on the orchestra of the Association of College Music Programs he Arts Leadership Program is future. ❧ (NYSACMP) fortunate to host a guest as dis- tinguished as Henry Fogel. His William Weinert associate professor of con- achievements as president of the The orchestra of the future ducting and ensembles TChicago Symphony Orchestra Association • Editor, The American Choral Review are too many to list, so I will not attempt BY HENRY FOGEL to do so. I think what characterizes Mr. Gretchen Wheelock, associate professor of Fogel’s leadership of the CSO is that he is et me tell you a little bit about musicology willing to take risks, and to challenge the my own background because I • Past vice president, American Musico- concept of what it means to be a sym- think it’s relevant to the topic. logical Society phony orchestra in America. I’ve been in one way or the other While most major orchestras chose to Linvolved in symphony orchestras for pre- Phillip Ying, assistant professor of chamber ignore or pay lip service to problems that cisely now 40 years. In 1961 I was still a music were being felt in the late ’80s and early student at Syracuse University. I’d gone • Vice president, Chamber Music America ❧ ’90s, the CSO, under Mr. Fogel’s direction, as a pre-med student, but the first time I chose to lead all American orchestras in dissected a frog I fainted so I decided that attempting to change the way they do wasn’t a good idea, and I switched to fine business. They have changed their mis- arts and musicology and piano, and sort of sion to incorporate community engage- cobbled together a music education. ment and building audiences for the I went to work at an FM radio station, future. In addition to excelling artistically, the only commercial FM radio station in the CSO has mounted a Community Syracuse. It had a 90-minute classical Engagement Initiative that permeates all music program, and I went in and audi- aspects of the institution. For example, in tioned to announce on that program and their recent renovation of Orchestra Hall got the job. One of the other things it did and creation of Symphony Center, Mr. was make an agreement to record and Fogel and CSO Music Director Daniel broadcast the Syracuse Symphony which Kerala J. Snyder Phillip Ying Barenboim made sure that, in addition to was founded in 1961, so I actually taped

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and broadcast the very first concert of the around 10 to 12 years ago when a number European institution, we have plunked it Syracuse Symphony Orchestra. of orchestras actually did go through some into America, we didn’t change it very I have been involved in one way or financial crises; a couple were threatened much, and we need to think about that. another with orchestras ever since. with going out of business, and a few did We particularly need to think about it in go out of business. It was said, “the death terms of its relationship to all of our com- became in the late ’60s a board mem- of orchestras is in front of us.” Given that munities. Most European countries are a ber of the Syracuse Symphony there have always been some problems lot less diverse, ethnically diverse, than Orchestra and was on its board for with orchestras, and given that these are America is in most American cities. In 11 years until I left in 1978 to sort of old world institutions that have fact, if you really were to look at the way Ibecome the orchestra manager for the been plunked into the American culture, orchestras run you can see certainly in New York Philharmonic. I did that for and given that there’s no way to prove their programming a big difference three years and then was the executive productivity … you know, if you make between a Swedish orchestra and a Ger- director of the National Symphony automobiles you can make a lot more cars man orchestra. Orchestras do tend to try Orchestra working with the great Mr. per hour than you could 50 years ago. It to relate to their own cultural back- Rostropovich in Washington for four years still takes 85 musicians 45 minutes to grounds, and American orchestras weren’t and then in 1985 went to Chicago, which I play the Brahms first symphony, and it doing that; and there were a number of hope will be my last job. always will. That’s not going to change, other problems as well. The report openly The interesting thing in this 40 years of and so that is not something that is avail- recognized these problems and openly rec- involvement with orchestras is that I’ve able to our business. ognized a racist history, an overtly racist seen cycles. In almost any decade there Around a decade ago, at the time that history. Because it (the report) raised has been some authority figure in this crisis looked like it was some unpleasant aspects of the way music who has predicted the serious, the American Sym- orchestras behaved in the first part of this demise of orchestras, whether phony Orchestra century, it was criticized by many of our it was Pierre Boulez, League did a report to colleagues. I got into some quite violent whether it was even address some of the arguments with some of them. Every one famously once Leonard serious problems. of them admitted in conversation that Bernstein who said they The report was what the report said was true; they just were all museums that titled “American- said that you can’t admit it – you aren’t probably couldn’t live into izing the Ameri- publicizing your orchestra very well to the next century, or can Orchestra,” say, “we were racists.” I kept saying you whether it was orches- and the purpose can’t fix it until you admit it, and admit it tra administrators like of that title was publicly. That was just one aspect. Ernest Fleischmann to say, yes, we There were sociological issues also. who said that if orches- have taken this What’s interesting to me is that many tras didn’t completely orchestra managers and some of the press change in ways that they – The New York Times particularly – were still haven’t in this country quite critical of that report, and they they wouldn’t survive, and accused the American Symphony Orches- certainly also the press. tra League of wanting to dumb down our That happened orchestras by pandering to a broader especially TURN TO PAGE 8 ➧

Henry Fogel: “Most European countries are a lot less diverse, ethnically diverse, than America is in most Amer- ican cities. In fact, if you really were to look at the way orchestras run you can see certainly in their program- ming a big difference between a Swedish orchestra and a German orchestra. Orchestras do tend to try to relate to their own cultural backgrounds, and American orchestras weren’t doing that.”

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➧ FROM PAGE 7 talk about that from boards. people who do. That’s a 20th century con- appeal. The fact is that most orchestras I’ve had some terrifying experiences sit- vention. That would shock Beethoven. have started to implement many of the ting in what are called focus groups. You Read sometime Berlioz’s essays about recommendations in that report while sit a group of a dozen people around a Beethoven’s symphonies; read what he never admitting it. table and get them to express their feel- says about the seventh symphony: “Clearly ings about an institution or subject, in the public is most in love with the second oday, 10 years later, orchestras this case the arts in general and the movement because it gets the longest are much healthier than they Chicago Symphony in specific. We, the applause.” Elgar, whose wife was too ill to were, in fact healthier than Chicago Symphony staff, can watch this attend the premiere of his second sym- they’ve been in decades. The behind a one-way mirror where they can’t phony wrote back to her that the audience Tnumber of orchestras with deficits has see us but we can see and hear them. so loved the slow movement that they had gone way down, the number of orchestras They don’t know we’re there. We did a to play it a second time before they could with balanced budgets has gone way up. whole bunch of these focus groups. Some proceed with the third and fourth move- Some of that, to be fair, is that some of the of them were with subscribers, some were ments, and he thought that was wonderful. orchestras in trouble simply went out of We’ve written program notes that if you business and then reconstituted them- didn’t graduate with a degree in musicol- selves at a lower cost level; but not a lot, ogy you couldn’t understand. We call 25- that’s about 10 or 12 orchestras at most. year-old assistant conductors “maestro.” Why is this not more publicized? Because When there’s That’s ridiculous. First of all, they’re not – it is not a national headline – “Orchestra the word means master. But secondly it’s a Balances Budget.” You’ll never read that. distancing word. I certainly think that This is one of the problems that I think an orchestra that’s Georg Solti when he was in his 70s should orchestras have had in this country. When be called Maestro Solti. We don’t use that there’s an orchestra that’s threatened to threatened to go word about Daniel Barenboim at the go under, it’s national news; when there Chicago Symphony.We call him Daniel isn’t, or when you have successes, that’s Barenboim or Mr. Barenboim. “Maestro” is not news. I’m not however, trying to say under, it’s national one of many ways that orchestras have put there are no problems in orchestras. I’m themselves upon a pedestal. trying to say they’re perhaps not as bad as news; when there the press might have you believe. But he people who supported orches- there are problems, and some of them do tras in the first part of this cen- stem from that historic sociological nature isn’t … that’s tury did the same thing. It’s that I talked about. class separation, not to mention One problem is that we are now dealing not news. Tracial separation. American orchestras with the first generation of adults over the integrated, major ones, after baseball. age of 35 who have come out of major Black musicians were overtly, openly urban school systems with no music edu- with single ticket buyers. The most excluded until about 1960. There’s a cation. Music education in most of the instructive and interesting ones were lists player who just retired last year from the major cities in America was just chopped of people who attended other cultural Cleveland Orchestra, a cellist named Don- out of schools sometime in the last 25–30 events, particularly plays, museums, and ald White, a black cellist. He was the first years, which means kids who were 10 even opera, but did not at all come to the black player of any major American then are 35 or 40 now. That’s what should symphony. I wanted to break down the orchestra. He was a graduate of our Civic be the next generation of our audiences, glass window to listen to these people: Orchestra in the late 1950s in Chicago, and they don’t have the musical back- “Well, yeah, but that’s the fur-coat crowd, and I’m sorry to tell you he was told by ground that people of my age have. In that’s that stuffy, stiff, formal atmosphere. the Chicago Symphony, we don’t take col- most of the big city schools that’s gone; in I wouldn’t have any interest in that.” You ored musicians. He was also told that by fact, in Chicago they’re beginning to talk realize that there are many people who the Pittsburgh Symphony, the Philadel- about putting it back. You have a whole believe things about our music which we phia Orchestra, and the New York Phil- generation of people who’ve had no con- don’t believe, and we in fact know are not harmonic. He became a freelance cellist in tact with this kind of music and think true. New York. He got a call one day from that it might not mean anything to them. First of all, you want to ask yourself George Szell, who knew exactly what he This is one of the problems we have to fig- what have we done over the years to create was doing. Those were the days before ure out: How do we deal with that without that wonderful image, and we’ve done a lot open auditions, when a conductor could dumbing down the art that we present? to do it. There’s a lot in American orchestra audition one player and hire him. George How do we make people understand that history that has been used to really sepa- Szell called him up and said, “Mr. White, it can communicate with them? That is rate people, classes, and people “in the I’m told you’re a good cellist. Would you something that requires enormous know.” Frankly, even one of the most obvi- come to my hotel and play for me, because thought from marketing departments, ous and accepted practices: not applauding we need a cellist in Cleveland?” When from managers, from musicians, and we between movements, and in fact glaring at Donald White tells this story he says, “You

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know, I said, ‘Mr. Szell, you know I’m col- of interviewers, going into various commu- have a variety of residencies in different ored?’ ” Szell said, ‘I don’t care if you’re nity organizations, and having discussions communities, each one shaped to a large green; can you play the cello?’ ” He played without us in the room. What came back degree by the members of that community. the cello, and he got hired. The first one, was, as you would probably expect, not There’s a huge Latino population in and it was about 40 years ago. particularly flattering except that there Chicago, so we have one residency that And if there was one who got in, how was a clear openness to the idea that if the they helped to design – in fact, it was many were there who were told, “We don’t Chicago Symphony was seriously inter- more their idea than ours. They had a have room for you”? If that was 40 years ested in relationships, many of those com- Mexican folkloric group that performed ago, you understand that we’re now deal- munity representatives and groups would music both written for them and tran- ing with the children who are 30 or 35 be interested in exploring it with us. The scribed and arranged for them. It was years old, of that generation of people. You single most important message that came mostly some percussion and guitars and a can’t start to repair that bridge without back was, “Don’t come in and tell us what few other instruments of that nature. beginning by admitting that we did that, you’re going to do for us. Come in, get to They said, wouldn’t it be great if a brass and then saying, “OK, what can we do to fix know us, sit down with us, and let’s talk group from the CSO and we could some- it? We’re sorry, it wasn’t me personally, it together about what we might want.” how get together. The program that they wasn’t anybody who’s here now.” But if you devised, which is now done about 15 times don’t admit it why would anyone take you e did that. At their recom- a year in the Latino community at differ- seriously? It’s not truly ancient history mendation we formed a Com- ent settings, is one-third CSO brass play- when you’re talking about institutions that munity Relations Depart- ing basically classical brass transcriptions told my father or mother, “We don’t want ment that set up a series of and pieces, one-third the folkloric group you.” I think boards, management, and Wtown meetings in different community playing its music, and the last third is the musicians have to think about and under- organizations, in churches, clubs, meeting two groups playing together music com- stand this history to understand the depth rooms. There were about six or seven of posed for the combined groups by a Latino of feeling that we have to overcome if we these in different parts of the city, each composer/arranger living in Chicago. The are in fact going to be meaningful and res- attended by between 100–150 representa- audience and following is now in its third onate with our whole community and not tives of the community. I invited my staff year, and you see these adults and kids just the rich, white folk. We have said for to come along. Terry and Associates gave a from the Latino community just sitting 100 years, “We don’t need you, we don’t summary of their findings and their rec- there and suddenly understanding that want you.” We want to change that but ommendations. I then spoke about our there’s all kinds of good music and there’s that’s going to take decades. If we put pro- hopes and said, “Let’s open it to questions. all kinds of things possible. grams in place now to start to build bridges What would you like to ask us, and please We have other programs where musi- to communities that we have put walls up don’t hold back.” They didn’t. What was cians from the Chicago Symphony teach around, maybe long after I’m gone, and fascinating to me was the degree of per- kids in African-American churches, where maybe even after my successor is gone we ceptual difference. In one particular com- members of the Chicago Symphony Cho- might see significant results. But if we munity center called the People’s Music rus have formed a community chorus and don’t start now we won’t see those results. School in a largely Latino neighborhood, cultural center on the south side of somebody said to me, “Mr. Fogel, I noticed Chicago, and a children’s chorus there. he buzzword in the arts world in you have a lot of staff with you.” Indeed, Each residency has its own character and general today is “outreach,” and we had about 20 people from the staff. I it’s shaped by the community. You start that’s a word that’s basically for- had invited staff to come because I wanted this now and each year it grows. It will bidden at the Chicago Sym- the community to meet them and I wanted still take us 25 years before we build back Tphony. We don’t use it; I don’t like it. I find them to hear firsthand, not to hear a the trust and the respect on a broad basis, it one-directional; I find it a little bit con- report, but to hear the dialog. This guy but there’s no question that it’s already descending – the big wonderful Chicago said, “You came with 20 people. Is that much better than it was. Symphony will reach out to you and give because you’re afraid to come into this Another area that you have to deal with you something. The word we use is “com- neighborhood alone?” I was just amazed, is the way the orchestra is promoted. How munity engagement.” We feel very but it was a genuine feeling on his part. do you get rid of this image that people strongly about that word; words symbol- Fortunately right near, within two have? A furnace repairman came to my ize a lot. blocks, there are some wonderful Viet- house once to fix my furnace, saw the In 1994 or 1995, we engaged a consult- namese restaurants and I was able to say, record collection, and told my wife, “My ing firm, an African-American arts consult- “My wife and I come into this neighbor- God, that’s a huge amount of records! ing firm, Terry and Associates in New York hood once a month to eat at these restau- What kind of music is that?” She said, “It’s City.We engaged them to do some real rants on Argyle Street. I wanted my staff classical.” Turned out he loved classical research in the African-American and to meet you and you to meet them. I’m not music. He said to her, “Do you ever go to Latino communities of Chicago. What do afraid to come in here alone. You invite me the Chicago Symphony?” She said, “Yes, they think of us, and could they change to come alone, I’ll come anytime.” But that my husband manages it.” He said, “You that thinking, and what would we have to just shows the gap that we had to over- know, I would go, but I don’t own a do to help bring about a change? They come. The interesting thing was, we did tuxedo.” He thought you couldn’t go into spent about a year putting together teams start to develop relationships. We now TURN TO PAGE 10 ➧

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➧ FROM PAGE 9 input. It’s a two-way street: Managers street. The idea that at the end of a con- the hall as a member of the audience haven’t wanted it and musicians have been cert the musicians would actually stand without a tuxedo. I sent him some tickets, unwilling to do it because they feel they up, all face the audience, and even smile a and I told him to come as he wanted, might be co-opted. The orchestra of the little bit – it’s shocking to me how strange except not in a bathrobe. How do you start future will not survive if musicians are not musicians think you are if you suggest to promote – not to cheapen it – but how involved in the decision-making process, this, but it is a part of the relationship do you promote the orchestra? We’re using the governance of orchestras, and if they between an audience and an orchestra. the results of the focus groups to position don’t think differently about their jobs. The committed music lovers will come. the orchestra a little bit differently. We’re Musicians, I think, in future orchestras They aren’t enough to support orchestras telling more stories in some of our adver- are going to have to be willing to go out at the levels to which musicians want to tising about individual musicians. We into communities and – whether it’s teach be supported. In Chicago, nobody last year have one whose passion is the Chicago kids, or give ensemble performances in in the orchestra made less than $100,000. Cubs; we have another whose passion is school – talk about the music a little bit. But there are 112 of them – you do the heavy metal music. We’re just telling Musicians in American orchestras need to math. That’s a very expensive part of the these stories so people can start to get us budget. If the orchestra wants to only play down off that dumb pedestal. to the committed music lovers, it needs to The last thing I want to say about the realize that it is cutting its very financial changes that we all need to look at – and pipeline in half. this one’s particularly important and not Musicians … in done very often – is that unlike busi- hat we have to do is actually nesses in the corporate world which regu- present the music in a way larly tend to invest money now for a pay- future orchestras that makes people who have off that might take place five years from not started out to be commit- now, most orchestras have a tendency to are going to have Wted music lovers actually understand that have to balance this year’s budget and this music can speak to them. I think if they simply can’t spend money now that we have musician involvement and musi- won’t pay off this year. But anybody who’s to be willing to go cians who are willing to be on the board of worked in the corporate world knows that trustees, be on board committees, and not everything in marketing and research out into communi- meet in a consistent way with manage- and development pays off in the same ment, not only to fight about issues, we’ll year that you spend the money. always do that, that’s fine. It means that ties and talk about management has to be willing to compro- convinced our board last year to mise and listen to musician views, and it invest a million dollars from our music a little bit. means that musicians need to understand endowment and put it into marketing that being part of a process doesn’t mean research, focus groups, and new mar- you get 100% of your way. It means com- Iketing initiatives that we believe will pay think about what they look like on stage. promise in all directions. We have to build off two or three years down the road. We They get angry with me when I say, “How that relationship with our musicians. It is also took another half-million dollars and well you play your instrument is the most starting to happen across the country. invested it in completely redoing our web important part of your job, but it’s not the I just want to close by saying I think site, making it even possible to buy a only part.” Risers. They would prefer not you’re in this field because you believe in ticket online. I think more and more to play on risers. People actually don’t this art, you believe that it has the power orchestras are thinking that way. In the leave their eyes home when they go to a to transform people. I believe that. I’m a early ’60s, one of the big things that hap- concert, and you can’t disconnect the proselytizer for music, whether it’s being pened in orchestras is the union got more senses. You sit on the main floor of a con- on the radio for 15 years or as the man- powerful, orchestra players demanded cert hall with an orchestra with no risers, ager of an orchestra, I believe that peo- (rightly so) a living wage, and in large and basically what you see is a front row ple’s lives are better when they are orchestras a full-time, year-round wage. of strings and maybe their socks. You infected with this bug called great music. And that’s what has put the strain on might hear this wonderful oboe solo, but You haven’t chosen this because you think orchestra budgets until they figured out you never see who’s playing it. That’s not it’s a convenient career path. I suspect how to match that expense with income. a complete experience. When orchestras most of you are in it because you can’t Unfortunately, what also developed in stand up to bow, they talk to each other or think of doing anything else. I’m in it for that period was a very high level of mis- they swab out the clarinet, or at the end of the same reason. We have to find ways to trust between orchestra musicians and the concert, they actually start packing work together and nurture this art, pres- management. I can’t think of a university up. Excuse me, the audience is saying ent it to the current generation, but pass that runs without significant faculty input. something to you, and you’re acting like it on to the next one and expand that I can’t think of a hospital that runs with- you don’t care. Yet, I’ve heard those same audience so that it is passed on in a out significant doctor input. Yet, many musicians complain if they don’t think the healthy condition. I hope we can all find orchestras run with almost no musician applause is loud enough. It’s a two-way ways to work together and do that. ❧

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foreign to a great many people, built up to a phenomenal level by the marketing genius of Barnum. The disparity between Variations the intentions of Thomas and Barnum rep- resents two extremes on a spectrum of ideals in American performance culture: to establish a tradition where none exists, or to capitalize on its absence. on a theme The subsequent arrival of mass media made an obvious impact on the culture of performance, allowing for much broader and more frequent dissemination of music. However, in addition to shifting by Horowitz focus away from the community level, the propagation of music over air waves is the most indiscriminate of all means, exerting no direct influence on the listener’s frame Eastman students reflect on ideas of of reference. Furthermore, since the over- riding goal of radio networks and record Catherine Filene Shouse keynote speaker companies is to attract as many listeners as possible, the avoidance of extreme risks that stems from good business precludes most kinds of adventurous programming. The music appreciation movement of the 1930s came on the coattails of the Following are excerpts of student essays beginning, the American musical experi- development of mass media, and remained written in response to Joseph Horowitz’s ence has been the sum total of diverse inseparably tied. At its zenith was NBC’s Catherine Filene Shouse Keynote Lecture attempts to disseminate “great” music for “Music Appreciation Hour,” a weektime published in the Spring 2001 issue of a variety of motivations and with varying daily broadcast reaching up to seven mil- Eastman Notes.The essays were chosen degrees of authenticity. lion students as well as several million for publication by Horowitz. Before the advent of the radio and the adults nationwide. While the radio show phonograph, live performance was the exposed multitudes to great music who only vehicle for the transmission of music, may have otherwise scarcely encountered A fanfare for the common man: and its providers were as diverse as it, its spokesperson dispensed dozens of Expanding our society’s cultural Theodore Thomas and Phineas T. Barnum. faulty notions about the composers, cou- understanding When Thomas created a touring orchestra pled with banal associations that trivial- in 1869, it was out of his personal devotion ized the music. The show’s programming BY ERIC DUDLEY (BM ’01) to music and his desire to spread aware- shared the same paucity of new music as ness to those unacquainted with its network radio and mass media in general, The indiscriminate propagation of culture beauty. One effect of Thomas’ proselytizing delivering the terrible misconception that (from whatever noble motives) can operate was to encourage the formation of institu- classical music was no longer a living art easily, if not inevitably, toward the destruc- tions for the frequent performance of clas- form applicable to modern society, but a tion of that culture. sical music in population centers. The fol- continual reminder of the past. — Virgil Thompson lowing decades were indeed the most In the wake of these conflicting mes- important in the development of sym- sages, our modern-day understanding of Not long ago, bad-boy of musicol- phonic culture in the United States, classical music ranges from enthusiastic ogy Norman Lebrecht scandalized encompassing the establishment of perma- involvement to relative ignorance. There the field with probing inquiries nent orchestras in New York, Boston, can be no doubt that some of our noblest and daring accusations as to “who Chicago, and eventually most major cities. efforts have produced the same sorrowful I.killed classical music.” His 1997 book In contrast, P.T. Barnum’s motivations consequences as others’ most ignoble, exposes the nasty underside of commercial in the realm of music, as in all else, were which brings us to our next question. music-making, blaming money-grubbing solely financial. Consequently, his goal was performers and power-hungry managers to reach the largest audience possible, not If the situation we have for the demise of music as a serious art. to edify, but to manipulate. When he inherited is thus, what can we Classical music is not dead, but the carted the “Swedish Nightingale” across do to improve upon it? sound of its voice is scarcely more audible the nation in 1850, the focus of her appear- The idea of presenting today amid the din of our continually ances, notwithstanding Jenny Lind’s II.music to a silent crowd in a darkened the- evolving American culture than at its first notable talent, was not the music. Rather, ater, with no attempt to involve it directly utterances here centuries ago. From the it was the spectacle of something totally TURN TO PAGE 12 ➧

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➧ FROM PAGE 11 tion movement, we need a music partici- came before. Ideally, a concert of music in the music, is long since obsolete, and pation movement in which members of should be treated no differently than a has spelled certain doom for the presenta- the community share the responsibility three-course meal; with art music, a tion of much new music. Program notes for their own cultural awareness. The tar- seven-course meal. The concert programs alone are often insufficient. Instead, the geting of young audiences is paramount from many early conductors, and to some overall concert format must be altered, so for the future of our cultural health, and extent from the Seidl and Thomas eras of that the entire audience can fully absorb the quality of our music education as a New York Philharmonicdom, appear more at least some of the many stimuli they whole is a determining factor. All children as gourmet buffets than meticulously encounter. at least should be taught to read music. planned and paced fine dining. Most have Several solutions present themselves, These are but a few possible solutions at least two large-scale works, and several and have already been tested. From the- to an age-old and all-important question. other smaller works tossed in the middle, matic programming to pre- and mid-con- Theodore Thomas was right: The sym- somewhat like a plate on which the pres- cert talks and multimedia presentations, phony orchestra should reflect the culture ence of both a Beef Wellington and a lob- organizations have explored diverse of the community, and its health the com- ster has only room for macaroni and hush means of relating new or little understood munity’s cultural awareness. Only by puppies to be mashed in between. What is music to the experiences of their listeners. bringing music culture nearer to the to keep the steak sauces from running The difficulty lies in avoiding techniques active life experiences of our American into the lobster and completely obstruct- that pander to the public or cheapen the community at large, can we aspire to ing the natural flavor of the fish? Perhaps emotional and/or conceptual content of expand its cultural understanding. ❧ an intermission of bread down the center the works. If an effective manner can be of the plate would provide the necessary found for conveying these relationships, Composition major Eric Dudley gradu- fortification. Or a cutting wine. This is not then no piece of good new music should ated in May with a bachelor of music to say that Seidl and Thomas are not to be seem entirely foreign. degree and currently studies orchestral commended for exposing what could have Rather than another music apprecia- conducting at Yale. otherwise been dying musical flames; it is simply to say that ideally, they could have done so more skillfully. The culinary metaphors offer more than 2nd Movement: Broccoli au gratin parts. But the collective whole of such a their somewhat distant association may meal is certainly an even grander state- suggest. Wine truly is served as a means BY ROBERT WOOD ment of the art at hand than each individ- of cleansing the palate and readying one ual dish. Such an example is fairly obvi- so that alternate courses may be enjoyed e it cursed territory or not for one ous; other artistic areas are not. When with their deserved splendor. However, to invest many minutes in cross- groups of paintings are arranged in a the wine itself is selected specifically to relating, paralleling, and unifying complementary fashion, the action complement those foods for which it has art’s different branches, one fact becomes interior design and thus removed been designed to cleanse the palate. Wine Bremains painfully applicable: Beauty can from the responsibility of the original therefore simultaneously unifies and be divided into many forms, all wholly artist. But does a room decorated with a delineates, and musical concerts should intangible and resultantly, wholly unified. sensitivity to color have greater potential strive for the inclusion of similar entities, For in the end, what is a work of art but a for aesthetic satisfaction than one singu- with Beaujolais being paired with Bab- collection of assembled parts organized in lar contributor to this whole? No, ranking bitt, and Chardonnays with Chopin. One an aesthetically pleasing manner? beauty is futile and dumb. But the macro might say that such worries pander to the Cooking begins with a unit of food, the structure certainly has its own statement declining attention span of the modern final product resultant upon the propor- to offer. concert-goer. To that it could be said that tions and choices of those units of food Of all of the arts, music seems to have there is nothing meritorious or noble added thereafter. Painting begins with more “aesthetic narcissism” built into its about having the inherent or learned abil- color, its final product similarly resultant singular units; rarely is an impeccably ity to enjoy the roller coaster ride of three upon the proportions and choices of those programmed concert of complementary Beethoven symphonies performed consec- colors added thereafter. And music. Music pieces acknowledged with deserved utively; it simply speaks for attention begins with the note, its success following praise. Of course, rarely are there concerts span. But why fill one’s stomach with the same prescription. But as these deserving of such a reception. Regardless, three main courses, tainted with each processes all result in their respective the critical mechanisms of each audience other’s residual flavors, if instead a soli- dishes, paintings, and songs, nowhere is it member disengage and re-engage at the tary main course can be experienced by said that these artistic statements cannot ends and beginnings of the pieces they the complements of a more thoughtful themselves serve a greater artistic pur- may experience. It is as if intermission is menu? ❧ pose. A meal is not composed of a a time in which the comparatively unor- solitary salmon, but perhaps also of a dish ganized babble of sound coming from the Pianist Robert Wood, an applied music of asparagus, potatoes, a salad, and a bev- lobby is used to cleanse one’s aural palate, major, is scheduled to graduate from East- erage, all owing their given successes to thus assuring that the following music man with a bachelor of music degree in the care taken to arrange their individual will not be tainted by remnants of what December.

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received an honorary doctoral degree from the School in recognition of his many achievements in music. Williams concluded the con- cert with a rousing encore of music from Star Wars and Raiders of the Lost Ark, which brought the audience to its feet in appreciation. Born in New York, Williams moved in 1948 to Los Angeles, where he eventually began his career in the film industry. He initially wrote music for many television programs in the 1960s, winning two Emmy Awards for his work. Since then, he has composed the music and served as music director for more than 80 films, including the Star Wars trilogy, the Indiana Jones tril- ogy, Superman, Jaws, Home Alone, Presumed Innocent, JFK, and more recent films GELFAND-PIPER such as Jurassic Park, Saving U.S. Senator Alan Simpson (R-Wyoming), was guest narrator in an extraordinary performance of John Williams’ Private Ryan, Star Wars Oscar-nominated suite from The Reivers, a coming-of-age film released in 1969. Episode 1: The Phantom Men- ace, and The Patriot. Williams has been nomi- Oscar-winning composer and nated for 39 Academy Awards – making him the most nomi- nated living person – and has U.S. senator visit Eastman Theatre won five. He also has been awarded Rochester enjoyed the talents 18 Grammys, three Golden of two of the most highly Globes, one British Academy regarded men in Hollywood Award, and numerous gold and Washington when John “It was a tremendous honor and platinum records. His Williams, composer of scores soundtrack album Star Wars for many of the biggest films in has sold more than four mil- movie history, paid an exciting to have John Williams visit lion copies, making it one of visit to Eastman in April. He the most successful non-pop conducted the Eastman Phil- Eastman, and an incredible albums in recording history. harmonia in a special, sold-out In addition to his work in concert of his own music in opportunity for our students.” the film industry, Williams has Eastman Theatre. written two symphonies and The all-Williams program several concerti, including a featured a wide variety of his Southern coming-of-age movie. perform his internationally rec- cello concerto premiered by Yo- film music: the themes from At Williams’ request, former ognized music under his direc- Yo Ma and the Boston Sym- Angela’s Ashes (winner of the U.S. Senator Alan Simpson tion,” said Eastman Director phony Orchestra. From 1980- 2000 Grammy Award for best (R-Wyoming) provided narra- and Dean James Undercofler. 1993, he was the conductor of instrumental composition) and tion for the selection from “We were equally honored to the Boston Pops Orchestra, Schindler’s List; selections The Reivers. have had Senator Simpson and now holds the title of lau- from Far and Away, Hook, “It was a tremendous honor take part in the program,” he reate conductor. The recipient E.T., and 1941; and a suite to have John Williams visit added. “His spirited and warm of several honorary degrees, he from The Reivers,his Oscar- Eastman, and an incredible narration was perfect.” is also an artist-in-residence at nominated work for the 1969 opportunity for our students to After intermission, Williams Tanglewood. ❧

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Focusing on the future, discovering our heritage Eastman to host conference for EWE’s 50th The Eastman School is issuing with Nexus. Scheduled presentations an open invitation to alumni to Several resource areas will revisit Rochester for a four-day be available to conference par- Presentations during the confer- • Concerto for Wind Ensemble, conference on wind music to be ticipants. There will be an ence will reflect the musical Karel Husa held on February 6–9, 2002. extensive display of scores diversity of the Eastman Wind • Candide Overture, Leonard Celebrating the Eastman used by Eastman Wind Ensemble over the past half-cen- Bernstein/Walter Beeler Wind Ensemble’s 50th Ensemble conductors Freder- tury. From Mozart to Messiaen, Ives and the Band anniversary, conference high- ick Fennell, A. Clyde Roller, Strauss to Schoenberg, and Ben- Presenters: Philip Lambert, lights will include the world and Donald Hunsberger. son to Bennett, “Focusing on the James Sinclair, Jonathan premiere of Bernard Rands’ Selected materials from the Future, Discovering Our Heritage” Elkus commissioned work, Unending holdings of the Eastman will feature thought-provoking • Calcium Night Light Lightning and performances Ensemble Library and Sibley and informative sessions on • Over the Pavements by the acclaimed percussion Music Library also will be music and music-making. Some • Country Band March ensemble Nexus, as well as accessible. Selected archival of the scheduled events include: • Overture and March, 1776 solo performances by Chicago 1951 to 2002 Symphony Orchestra musi- Richard Strauss’ Final Works Presenters: Frederick Fennell, cians Larry Combs (BM ’61) Presenter: Brian Gilliam, Duke A. Clyde Roller, Donald and Gail Williams. The confer- University Hunsberger ence is being held in conjunc- • Serenade: “The Happy • Music from the first wind tion with meetings of the East- Workshop” ensemble concert ern and North Central Divi- • The Four Last Songs Rehearsing Chamber Ensembles sions of the College Band Orchestration for the Wind Presenters: Donald DeRoche, Directors National Association Ensemble Frank Battisti; Rodney Winther (CBDNA), and the World Asso- Presenters: Donald Huns- coaching/ conducting the ciation of Symphonic Bands berger and Mark Rogers Cincinnati Conservatory and Ensembles (WASBE). • Theme and Variations. Op. 43, Chamber Winds In addition to the Eastman Arnold Schoenberg International Repertory Wind Ensemble, other ensem- • Suite Francaise, Darius Presenters: Timothy Reynish, bles will perform during the Milhaud Leon Bly, Dennis Johnson, conference, including the The Ithaca Connection Toshio Akiyama Ithaca College Wind Sym- Presenters: Frank Battisti, Composers on Composing phony, Cincinnati Conserva- Warren Benson, Gordon Stout Presenters: Richard Bennett, tory of Music Chamber Winds, • Steven Peterson conducting Warren Benson, Karel Husa, and United States Military In addition to EWE’s gala concert, the Ithaca College Wind Bernard Rands, Verne Academy Band. ensembles from Ithaca College, the Symphony Reynolds, Dana Wilson The USMA Band will be Cincinnati Conservatory, and the • Theme and Fantasia, Armand The Expanded Harmoniemusic featured in sessions highlight- U.S. Military Academy will perform. Russell Ensemble ing the works commissioned in • Concerto for Horn, Dana Presenter: Christopher Wieat 1952 for the 150th anniversary recordings of the Eastman Wilson • Concerto for Clarinet and of the founding of the Military Wind Ensemble are scheduled • Remembrance, Warren Harmoniemusic, Mozart Academy, as well as the cur- to be “broadcast” at various Benson • Larry Combs, clarinet rent commissions for their times in the main resource upcoming 200th anniversary. center. Shattinger Music also Special Saturday alumni ensemble They will also participate in a will provide a resource center special demonstration of of scores, recordings, and books On the morning of Saturday, current EWE members where rudimental drumming along available for purchase. ❧ Feb. 9, a special playing session necessary) in repertory certain to in Eastman Theatre will enable all bring back the richest of memo- Eastman Wind Ensemble alumni ries. All alumni are requested to Registration forms will be distributed via CBDNA and WASBE to once again play with their inform the conducting and mailings, and also can be downloaded from the Eastman Wind compatriots of bygone years. All ensembles office of their desire Ensemble web site: www.rochester.edu/Eastman/FFDH. Forms three EWE conductors will lead to perform, so that adequate bal- also may be requested via phone, fax, or mail at: Eastman School the ensemble (augmented by ances may be created. of Music, Office of Conducting and Ensembles, 26 Gibbs Street, Rochester, NY 14604, (585) 274-1440, fax (585) 506-0138.

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Fennell inducted into Hall of Fame Frederick Fennell (BA ’37, MS ’39, HON DOC ’88), one of Eastman’s most well-known alumni and revered faculty members, was honored this year as one of 10 individuals and two institutions inducted into The American Classical Music Hall of Fame. The prominent conductor was recognized by the Cincin- nati-based Hall of Fame for “significant contributions to classical music in America.” Indeed, Fennell is considered the founder of the contempo- GELFAND-PIPER rary wind ensemble with his John Adams speaks at a master class while a visiting film crew records. establishment in 1952 of the Eastman Wind Ensemble. Under his leadership, the Performances and master classes group became known as the pioneering force in the sym- phonic wind band movement round out John Adams’ Eastman visit in the United States and abroad. Prominent composer John bines the expressionism of dents and faculty. The crew The 2001 Hall of Fame Adams, whose orchestral Schoenberg with the frenzy of also conducted individual stu- induction celebration was held works make him the most fre- cartoon soundtrack music. dent interviews. in April at the University of quently performed living Shaker Loops, described as a Adams’ compositions encom- Cincinnati’s College-Conserva- American composer, paid a work full of “rapturous lyri- pass numerous genres, bring- tory of Music. visit to the School last March. cism” and as having “high- ing a sense of the theatrical The other 2001 Hall of Fame In addition to working with octane energy,” was composed and the vernacular to his dis- honorees are William Billings, composition students and pre- in the fall of 1978 using frag- tinctive sound. They have been Van Cliburn, George Crumb, senting a master class at the ments from a string quartet, called a postmodern mixture of Antonín Dvorˇák, Arthur School, he attended rehearsals Wavemaker, written earlier minimalism with expressive Fiedler, Paul Hindemith, and a concert presented by that year. tonal elements reminiscent of Itzhak Perlman, Sergei Rach- Eastman new-music ensemble While Adams was visiting late romanticism and early maninoff, and Virgil Thomson, Musica Nova, conducted by Eastman, a London television modernism. along with the Juilliard Quar- Brad Lubman. director was here with a New Adams studied at Harvard tet and the New York Philhar- The concert program fea- York City and Rochester-based and now is based in the San monic. They join 51 previous tured Adams’ Chamber Sym- crew to film Adams as part of a Francisco Bay area. He has inductees who have furthered phony, Shaker Loops, and 50-minute profile to air in the taught at the San Francisco the growth, development, and China Gates for solo piano United Kingdom and possibly Conservatory and was the appreciation of classical music (featuring graduate student worldwide. composer-in-residence for the in America. Thomas Rosenkranz), as well The crew shot footage of San Francisco Symphony from Besides the Fennell induc- as Studies 2 and 9 by Conlon Adams in a composition mas- 1979–1985. His most recent tion, Eastman has another Nancarrow. Chamber Sym- ter class listening to and giv- composition, El Niño,a dra- Hall of Fame connection: phony, for which Adams won ing feedback on students’ com- matic oratorio on the theme of Samuel Adler, composition pro- the 1994 Royal Philharmonic positions, at a rehearsal of his the Nativity, was premiered in fessor emeritus, serves as co- Society Music Award for best Chamber Symphony and December by the London chair of the organization’s chamber composition, is scored Shaker Loops, and at a sympo- Voices and the Halle Orches- National Artistic Direc- for 15 instruments. It com- sium with composition stu- tra in Paris. ❧ torate. ❧

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Welcome Eastman hosts 4th annual Lotte Lenya new faculty The Eastman community competition – and provides a winner extends a warm welcome to the following new faculty: For the third time in this pres- of Southern California, Los $500 for Outstanding Perfor- tigious event’s four-year his- Angeles. mance of a Single Number, Yehonatan Berick, visiting tory, the Eastman School of Of the 13 finalists taking Weill’s “Surabaya-Johnny.” All associate professor of Music was a host site for the part in the March 17 competi- winners will be presented in a violin (part-time) Lotte Lenya Competition for tion, two hailed from Eastman: concert in New York City in John Covach, visiting Singers. Once again, Eastman Jazmin Gorsline and Misty November. professor of theory (part- also produced a prize winner. Ann Castleberry Sturm. To show versatility in the time) Established in 1998 to honor Judges were André Bishop performance of varied musical Peter DuBois, assistant the wife and foremost inter- (artistic director, Lincoln Cen- theater styles, each contestant professor of sacred music preter of the music of German ter Theater), Welz Kauffman was asked to prepare a 15- (part-time); director of composer Kurt Weill, the Lotte (president and CEO, the minute program including an Sacred Music Diploma Lenya Competition for Singers Ravinia Festival), and soprano aria from the operatic or program is open to students enrolled in Teresa Stratas. The first prize operetta repertory, a selection Daniel Godfrey, visiting a degree program at any col- of $3,500 went to soprano Jen- from one of Kurt Weill’s Ger- professor of composition lege, university, or conserva- nifer Dyan Goode, Manhattan man stage works, a selection (part-time) tory in the United States and School of Music, New York from one of Weill’s American Clay Greenberg, instructor of Canada. It recognizes excel- City. In a tie for second prize, stage works, and a selection gamelan (part-time) lence in the performance of Raquela Sheeran, soprano from the American musical Benton Hess, distinguished music for theater, including (The Juilliard School, New theater repertory by a com- professor of voice; senior opera, operetta, and American York City) and Jacob poser other than Weill. Criteria vocal coach; music musical theater. Langfelder, baritone (Boston for adjudication included vocal director, Eastman Opera This year, Eastman was a Conservatory of Music), won technique and beauty of Theatre host site for one of four $2,000 each. In addition, the instrument as well as interpre- Anne Koscielny, professor of regional auditions held in Feb- judges singled out two contest- tation, acting, idiomatic per- piano (part-time) ruary 2001, and also host for ants for special recognition: formance, and stage presence. Mark Kellogg, associate the final judging on March 17. tenor Noah Stewart (The Juil- Next year, Eastman once professor of euphonium, Other regional audition sites liard School) received $1,000 again will host the regional trombone, and brass included the University of for Outstanding Vocal Poten- auditions (scheduled for chamber music Cincinnati-Conservatory of tial; soprano and Eastman February 16, 2002) and will Russell Miller, assistant Music; Symphony Space, New School student Misty Ann present the national finals on professor of vocal York City; and the University Castleberry Sturm received April 13. ❧ coaching and repertory William Porter, visiting pro- fessor of organ (part-time) Ashley Putnam, visiting pro- Students perform Miller Theatre finale fessor of voice (part-time) Al Regni, visiting professor of On May 24th, Eastman’s stu- new version of The Desert graduate student Gavin Chuck. saxophone (part-time) dent-run new music group Music. The latter work, com- Reich was in attendance at the David Rivello, instructor of Ossia helped usher out the posed in 1984 for full orchestra Miller Theatre event to hear jazz studies and contempo- 2000–2001 season at Colum- and large chorus, recently was his music being performed. rary media (part-time) bia University’s Miller The- reduced by Reich to employ According to a review of the Ralph Sauer, visiting profes- atre. The occasion also marked chamber orchestra and 10 performance by web magazine sor of trombone (part-time) the launch of Alarm Will singers. Ossia’s version, which andante.com,“An evening of Steven Stucky, visiting Sound, a professional ensem- was premiered at Eastman in music executed with flawless professor of composition ble whose founding members a May 3 concert, is an integra- technical precision may easily (part-time) are Ossia musicians. tion of instrumental forces be forgotten. But there are con- Robert Swensen, associate The program, Reich Redux, from the original version and certs that, if not note-perfect, professor of voice featured two pieces by modern the chamber version. put everyone present in franti- David Temperley, assistant music icon Steve Reich. Stu- “We’re excited to have been cally good spirits – events that professor of theory dent conductor Alan Pierson able to work with Reich, who linger in the memory and James Willey, professor of led the ensembles in Tehillim, reviewed and approved our allow one to recall with pride, composition (part-time) a significant vocal work based ideas for this new instrumenta- ‘… and I was there.’ This con- on Hebrew cantillation, and a tion,” said Ossia member and cert was such an event.” ❧

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McPartland jazz concert features Roberta Piket Jazz pianist Roberta Piket was In addition to performing solo, this year’s featured artist in she has played professionally the third annual Marian with a number of artists McPartland/Eastman Jazz including Lionel Hampton, Series, held in Kilbourn Hall Rufus Reid, David Liebman, in May. Called “one of the most the BMI/New York Jazz accomplished and inventive Orchestra, and others. She young jazz pianists on the also leads two groups: The scene,” by Piano and Keyboard Roberta Piket Trio and Alter- magazine, Piket was selected nating Current. Her trio has by legendary jazz pianist toured Japan, New England, McPartland and the Eastman the Midwest, and elsewhere, jazz faculty. The McPartland performing at such notable concerts are designed specifi- places as the Blue Note Club cally to shine the spotlight on (Fukuoka, Japan) and the exceptional jazz pianists who Kennedy Center (Washington, deserve wider recognition. D.C.). Piket has recorded both Piket performed a variety of solo and with other artists. jazz standards, as well as some Her trio’s CD, Live at the Blue of her own compositions to a Note,was named one of the sold-out house. five best recordings of 1999 by “(Piket) is very original in Jazz Times.Her latest CD, her playing and will no doubt Speak Memory,was released go far,” said McPartland, who last fall on the Fresh Sound performed solo and with her New Talent label. Also an edu- featured guest. McPartland cator, Piket maintains an has featured Piket twice on active schedule of lectures, her National Public Radio master classes, and private show, Piano Jazz. lessons. She has taught at Piket trained at the New Long Island University and England Conservatory and GELFAND-PIPER presented clinics at Duke and Tufts University, receiving Roberta Piket joined Marian McPartland as the featured artist in the third Rutgers, and throughout the bachelor’s degrees in both annual Marian McPartland/Eastman Jazz Series. “(Piket) is very original in United States, Europe, and music and computer science. her playing and will no doubt go far,” McPartland said. Japan. ❧ Rouse clarinet concerto is premiered in Chicago The work of two Eastman ishing Larry Combs, the CSO’s violin concerto (1991), commis- consortium of orchestras – the notables came together principal clarinet – to the limit, sioned by the Aspen Music London Symphony, the Cleve- recently in Chicago, when a so does it dare the audience to Festival for Cho-Liang Lin; his land Orchestra, the Philadel- new concerto by Pulitzer Prize hang on tight as it takes them Pulitzer prize-winning trom- phia Orchestra, and the Balti- winner and Professor of Com- on the high-energy roller- bone concerto (1991), composed more Symphony; his piano con- position Christopher Rouse coaster ride of their lives.” for Joseph Alessi and the New certo (1998), “Seeing,” was premiered by the Chicago Rouse’s clarinet concerto, York Philharmonic; his flute composed for Emanuel Ax and Symphony Orchestra last May. completed late last year, was concerto (1993), commissioned the New York Philharmonic; The piece, a clarinet concerto, commissioned for the CSO by by Carol Wincenc and the and his “Concert de Gaudi” for prominently featured CSO the Hanson Institute for Detroit Symphony Orchestra; guitar and orchestra (1999), principal clarinetist Larry American Music at the East- his violoncello concerto, pre- composed for Sharon Isbin and Combs (BA ’61). man School. miered in 1994 by Yo-Yo Ma, the Norddeutsche Rundfunk In a review of the piece and A member of Eastman’s fac- with David Zinman leading and Dallas symphonies. In the performance, the Chicago ulty since 1981, Rouse has the Los Angeles Philharmonic; addition, Rouse will compose Tribune wrote, “Just as this gained particular notice for his his percussion concerto (1997), an oboe concerto for the 2004 music tests the virtuosity of the growing series of concerti of “Der gerettete Alberich,” com- season and another piano con- soloist – in this case, the aston- the 1990s. Among these are his posed for Evelyn Glennie and a certo for the 2006 season. ❧

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Eastman announces Institute for Music Leadership This fall, Eastman takes a the clarinet section of the along with their exceptional the Rochester City School bold next step in the evolution Rochester Philharmonic musicianship – to become the District of its “Eastman Initiatives” by Orchestra since 1973. Susan new generation of musical and • A new certificate with the creating a new center at the Wharton Conkling, a 1999– cultural leaders. While sepa- working title “The Art of School. The Institute for Music 2000 Carnegie Scholar in the rate from any individual Teaching” Leadership (IML) Pew National Fel- degree program at Eastman, The Institute also will be a is the first center of lowship Program the IML helps strengthen and center for the creation and its kind in the and associate pro- sustain core programs that implementation of new ideas country, reflecting fessor of music edu- prepare graduates to serve as related to music leadership Eastman’s long- cation at Eastman, artistic leaders. The Institute and professional development. standing role as a is the Institute’s serves as a new umbrella It will serve alumni and other leader in music. new associate structure for all of Eastman’s practicing musicians, in addi- Funded in part director for certificate, diploma, and part- tion to Eastman students. by a generous professional devel- nership programs, which “Consider this metaphor,” grant from the opment. Both work include: says Institute Director Ricker. Andrew W. Mellon under the guidance • Catherine Filene Shouse “A music student graduates Foundation, the of Eastman Direc- Arts Leadership Program with a certain ‘toolbox’ that Ramon Ricker IML will be tor and Dean • Orchestral Studies Diploma consists of skills and knowl- directed by Eastman Professor James Undercofler. in Strings edge. It can vary slightly from Ramon Ricker – a distin- The IML’s primary role is to • The new Sacred Music student to student, but more guished member of the East- ensure that Eastman students Diploma often than not music schools man faculty since 1972 and an obtain the broad education, • Music for All continue to supply the same acclaimed saxophonist who specialized skills, and diverse • Components of the William tools as they did 20 to 30 years has performed as a member of experiences they’ll need – Warfield Partnership with ago. The Eastman certificate and diploma programs that make up the Institute for Music Leadership add new A healthy exchange, here and abroad ‘tools’ that are designed to help our students better prepare for The Conservatory Exchange the challenges ahead. The Program between Eastman underlying thread for all of the and seven European conserva- programs is an internship tories continues to thrive. At component and the basic phi- Eastman, Murray Oliver, an losophy that we learn best by undergraduate from the Royal doing. We hope that the IML Northern College in Manches- and its various programs will ter, England, is studying trom- help our students make a bone for a year with Mark Kel- smoother transition from stu- logg, associate professor of dent to professional activities. euphonium, trombone, and I don’t know about you, but if I brass chamber music. Rachel were going to be a carpenter Helleur, an undergraduate I’d want to have more than from the Royal Academy in just a hammer, a few nails, and London, is studying cello for a tape measure in my toolbox. the fall semester with Profes- I’d want to have access to sor Steven Doane; and gradu- AMY GLOSSNER every tool I could get my hands ate student Tomaz Sevsek, Exchange students Murray Oliver (left), Rachel Helleur, and Tomaz Sevsek on. Thus, the IML is commit- from the Staatlich Hochschule ted to identifying and offering für Musik Freiburg (Ger- Dixon, clarinet, Royal North- schools in the exchange pro- those critical, expanded tools many), is studying organ for a ern College of Music; master’s gram include the Royal Col- that are proving to be so neces- year with Associate Professor student Brad Parker, piano, lege of Music, London; the sary for today’s and tomorrow’s David Higgs and harpsichord Conservatoire National Conservatoire National music professionals.” with Arthur Haas. Superieur de Musique de Superieur de Musique de Look for more information Eastman students studying Paris; and DMA student Sarah Lyon, France; and the Univer- on the new Institute for Music abroad this academic year Chan, piano accompaniment, sität für Musik und darstel- Leadership in future issues of include: undergraduate Lisa Conservatoire de Paris. Other lende Kunst Wien, Austria. ❧ Eastman Notes. ❧

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Eddins guest conducts and receives award at Eastman William Eddins (B ’83, MAS ter’s degree three years later. ’86), who has rapidly estab- After dozens of guest conduct- lished himself as one of Amer- ing engagements with many of ica’s most promising young the country’s most prominent conductors, returned to his orchestras, he earned positions alma mater last March to as assistant conductor to guest conduct the Eastman Daniel Barenboim at the Philharmonia. Berlin State Opera and assis- Eddins led Eastman’s pre- tant conductor of the Chicago mier student orchestra in a Symphony Orchestra before program of Mah- becoming its first ler’s Lieder eines resident conductor Fahrenden Gesel- in 1999. len,Tchaikovsky’s In demand as a Variations on a guest conductor, Rococo Theme, and Eddins was Beethoven’s Sym- recently named phony No. 3. Dur- principal guest con- ing intermission, ductor of the School Director and National Sym- Dean Jim Under- phony Orchestra of cofler presented Ireland, for which William Eddins Eddins with East- he will conduct four man’s Alumni Achievement weeks of concerts each season Award, recognizing his accom- from September 2002 through plishments and success since the 2004–2005 season. graduation. Other recent engagements “We were delighted to wel- include the Baltimore Sym- come Bill Eddins back to East- phony Orchestra, the St. Paul man to lead the Philharmonia, Chamber Orchestra, the said Undercofler. “He’s a won- Barcelona Symphony Orches- KURT BROWNELL derful conductor and an tra, the Detroit Symphony Just passing through accomplished musician.” Orchestra, and the Buffalo Legendary jazz alto saxophonist Lee Konitz stopped by Eastman for an infor- A native of Buffalo, N.Y., Philharmonic. In addition to mal visit during a swing through upstate New York last February. While at the Eddins received his bachelor’s his post with the CSO, he is School, Konitz attended jazz performance workshops, played a duet with degree from Eastman in 1983 also founder and artistic direc- Associate Professor Harold Danko, and worked with individual students and at the age of 18 – making him tor for the Prospect Park Play- groups. Jazz innovator Konitz remarked to Danko, “It was great to feel like a one of the youngest graduates ers, a chamber music series student again!” Above: Konitz listens to student Josh Rutner. ever – and received his mas- based in St. Paul, MN. ❧ Eastman Chamber Music Society debuts in New York City The newly formed Eastman The Eastman Chamber such as strings and winds ensemble, which was appreci- Chamber Music Society had Music Society is a group of together, larger ensembles, ated by so many here at East- an April performance debut in some of Eastman’s best gradu- etc., because such pieces of man,” said Timothy Ying, co- the Sunday Recital Series pro- ate instrumentalists who music are not performed as chair of Eastman’s Depart- duced by The Cathedral are selected by competitive often at the School. The group ment of Chamber Music. “So Church of St. John the Divine audition. presents an annual series of far the concerts have been in New York City. Its mission is to perform the four concerts in Kilbourn Hall, quite successful, with very The program included masterpieces of the chamber as well as other concerts in the good performances and appre- Mozart’s Clarinet Quintet and music repertory, with a special community. ciative audiences. We’re look- Dvorˇák’s E-flat Major Piano focus on music for unusual “The ECMS helps to fill the ing forward to the group’s con- Quartet. combinations of instruments gap left by the Intermusica tinued growth.” ❧

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Eastman marks Kneisel competition still strong Sept.11 tragedy Thanks to some dedicated peo- gan, publishing five books, and although with special permis- with reflection, ple, Eastman students over working as curator for a spe- sion of the voice faculty, jun- the past 20 years have had the cial collection housed at the iors may be nominated. volunteerism opportunity to compete for University of Louisville, KY. The panel of judges com- cash prizes and to perform in a He also has performed as a prises a cross-section of East- The faculty and staff at the special concert. soloist at universities and man faculty and outside guest Eastman School wish to Jessie Kneisel, who had a churches throughout the jurors including Mr. Mc- acknowledge and extend our distinguished 40-year career South. Whorter, and awards cash deepest sympathies to those at Eastman in German and The Kneisel Competition prizes ranging from $250– members of the Eastman com- German diction, was the provides a second award in $1,000. A concert by the win- munity whose lives were beloved teacher of George T. honor of an Eastman faculty ners is given the Saturday affected by the events of Sep- McWhorter (BM ’57). “Jessie member. Ann Clark Fehn was evening before graduation. tember 11, 2001. Kneisel was the finest teacher associate professor of German This year’s winners included In the days following the I’ve ever had … and I’ve had and associate dean of under- a tie for second place in voice: World Trade Center, Pennsyl- the best in several disciplines,” graduate studies at the Col- vania, and Pentagon tragedies, McWhorter proudly states. lege of Arts and Sciences of the Voice Eastman rallied to provide Kneisel so influenced University of Rochester until • First Place: Lucas Meachem support to students, faculty, McWhorter’s life that in 1982 her untimely death at age 44 • Second Place: John Fulton and staff who lost friends and he established an annual Ger- in 1989. Established in 1997, • Second Place: Melissa Kelly loved ones. Director and Dean man lieder competition at the the Ann Clark Fehn Memorial • Honorable Mention: Amber James Undercofler organized a School in her name. Kneisel Award recognizes excellence in Smoke moving remembrance cere- died in 1992 at age 88. the accompaniment of German mony in Eastman’s Main Hall, George McWhorter has led a lieder. This award is supported Piano where more than 100 partici- distinguished career, including in part by a gift from Fehn’s • First Place: James Myers pants joined hands and lis- earning master’s degrees in mother, Margaret V. Clark. • Second Place: Joy Puckett tened to calming words by the both voice and library science The competition is open to • Honorable Mention: Jeffrey Rev. Deborah Fae Swift from from the University of Michi- seniors and graduate students, Brown ❧ Calvary St. Andrew’s Presby- terian Parish in Rochester. Professor of Violoncello Steven Doane performed as listeners Marvin named Dean of Academic Affairs reflected on the sad events of the week. Elizabeth West Marvin, a long- “Betsy has done a first-rate ory department and to serve Students also organized to time Eastman faculty member job as acting dean,” Director as an affiliate faculty member give aid. Many donated blood and acting dean of academic James Undercofler said. “She in the voice department. at the American Red Cross affairs for the 2000–2001 has distinguished herself in all A widely published expert in and placed collection contain- school year, was aspects of her work the field of music theory, 20th ers around the School. On appointed dean of as a teacher, a century, Marvin has authored Sept. 23, more than $9,000 in academic affairs scholar, and an dozens of articles and papers. Red Cross donations were effective last July. administrator.” Her primary research areas raised in a free concert organ- As dean, Marvin Marvin, who include music cognition, analy- ized by Associate Professor is responsible for ad- received both her sis and performance, 20th cen- William Weinert, Professor ministering all aca- master’s and doc- tury music analysis, and music Carol Webber, and other East- demic aspects of the torate degrees from theory pedagogy. Two text- man faculty, where Mozart’s School, including Eastman, and her books she has co-authored, A Requiem was performed by the developing and undergraduate Musician’s Guide to Theory Eastman Philharmonia accom- maintaining high- degree with honors and Analysis and A Musician’s panied by a chorus of almost quality curricula, from The College of Guide to Aural Skills, will be Elizabeth West Marvin 200 students, faculty, and staff, and establishing Wooster (OH), has published by W.W. Norton in joined by singers from cho- academic policies. The dean been a member of Eastman’s 2003. Recipient of numerous ruses of the Greater Rochester oversees and collaborates with faculty since 1982. Prior to her national and Eastman School Choral Consortium. Another other key administrators to appointment as interim aca- honors, Marvin also is presi- Red Cross benefit, “An Evening recruit and enroll undergradu- demic dean, Marvin chaired dent of the Society for Music of Opera,” was presented in ate and graduate students, and Eastman’s music theory Theory, the preeminent early October by the voice works with the director of the department. She will continue national organization in her department. ❧ School to hire and retain faculty. to teach part-time in the the- discipline. ❧

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Deborah Fenn & Bill Beach Katherine E. Fink Joseph Holt 2000–2001 M. Charlotte Jammer Nancie Roop Kennedy Alan W. Kohan A. Laurence Lyon Bonnie Martin Report on Giving William & Yvonne Martin Georganne Mennin Wilda T. Moennig Roland & Laura Moritz Robert S. & Rose Ann Nichols Michael David Nott & Dawn K. Upshaw t is with heartfelt thanks that we recognize all those who generously Larry G. Palmer Robert H. & Betty A. supported the Eastman School throughout the 2000–2001 academic Rasmussen year1.Your extraordinary generosity continues to grow every year, Henry G. Scott Ann P. Stewart with 2000–2001 gifts totaling in excess of $12,000,000. This is even Mallory B. Thompson more remarkable given the fact that more than 50% of all dollars Harold Tither, III Jane Vansteenkist-Johnson Ireceived were directed to a variety of endowment funds that will provide for Leola Wilkins the School in perpetuity. It is our hope that the following report reflects, in Horace Williams G. Robert & Nancy Witmer small measure, our sincere gratitude for your contributions, and our promise Anne Roberts Zecchino to be conscientious stewards of your gifts. Eastman Ensemble $250–$499 Evelyn Storer Charles Lutton Estate Timothy Albrecht Eastman Fund Ronald Salluzzo Merritt & Candy Lutz William R. Armstrong The Eastman Fund is the Peter A. & Jeanne M. Mercurio John L. Barg annual giving program for Eastman Soloists Eugene Narmour James A. Basta alumni, parents, and friends of $1,000–$4,999 Joyce Osborn (Charitable William Beenhouwer the Eastman School of Music. Anonymous (1) Gift Fund – Fidelity Virginia S. Booth Gifts to the Eastman Fund are Elizabeth Bachelder Investments) Horace Boyer unrestricted in nature and James S. Badger David J. Pinkow & Louise Dickey Steven Bramson used during the year in which Jeff & Joan Beal Linda Reinfeld Deborah A. Brown they are received to meet cur- James L. & Josephine K. Robert A. Rosevear Elizabeth Burkhardt rent needs, primarily unre- Bennington Ralph & Linda Sauer Catharina Caldwell stricted scholarship support Carol Cloos Estate Howard S. Vogt Constance K. Carroll for current students. Over Richard & Martha Margaret J. Webster Estate Yvonne Caruthers $230,000 was raised this year Kirchenbauer Ellison Sydney R. Charles thanks to the more than 1,800 Michael C. Glover Eastman Orchestra Elizabeth R. Cosad alumni and friends who partic- H. Clark Harvey, Jr. & Hollis $500–$999 William A. Crowle ipated in the campaign. A. Selvaggi Anonymous (1) Ruth N. Dahlke Charles W. Hastings & Lucille Jennifer Cable (John A. Cable Virginia A. Dent Director’s Circle Graves-Hastings Foundation) J. William Denton $10,000 and above Harriet Hopeman Mena M. Colella David J. Fetter Henry Hwang (Henry Hwang Alma Lutz Jones Evelyn Delong William D. Gaver Foundation) John & Barbara Lovenheim Arno P. & Ruth Landes Marilyn M. Gindroz Martin Messinger (Messinger Virginia Lumbard Estate Drucker Byron Hanson Family Foundation, Inc.) Daniel R. Harris 1 Lists include those individuals who contributed to the Eastman School between Charles M. Herrold, Jr. Conductor’s Circle July 1, 2000 and June 30, 2001. Donors who have made both Eastman Fund and A. Arlene Hershey $5,000–$9,999 restricted contributions are included in both the Eastman Fund and restricted Anne Jacob giving lists. If your name has been omitted or incorrectly listed, please notify the Elizabeth Hollway (Wells Development Office at (585) 274-1040. James D. & Sharon P. Jones Fargo Bank) † Deceased TURN TO PAGE 22 ➧

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➧ FROM PAGE 21 Linda Althoff Eugene & Ruth Barnard Charles Bolen Walfrid Kujala Dennis Altizer Melvin Bartell Alan Bomwell Mary F. Landrum Lloyd Altman & Naoko Diana Basso Robert Bond Louis G. Lane Kurosaki Charles Bath Joseph Bondi Stanley & Margaret C. Diane Ames Diana Battipaglia David Borst Leonard Dawn Ames David Baumgartner Glenn Bowen Austin & Doris Leve Sookjwa An Helen & Paul Baumgartner Charles Bowers David B. & Kathryn A. Levy Helen Anderson Fund at the Lutheran Judith Bowman J. Cary & Dorothy Lewis Pauline Andrews Community Foundation Mary Boyce Helvi McClelland Ruth Andrews Bruce & Molly Beach Michele Boyd Mario Mercado Louis Angelini Todd Beaney Cheryl Boyd-Waddell Thomas V. Miller Juliette Angell-Nadeau Kathleen Beardsley Marilyn Bradley Martha K. Minster Carl & Nancy Annand Donald Bechtold Paul Brainard Ruth Dean Morris Helene Annas Frederick Beck Lucy Brett Martha J. North John Bridges Christopher & Leslie Norton Jeffrey Brillhart Emily Oppenheimer Matching gift companies M. Britton Paul H. & Melissa G. Ousley Rex Britton Melba Palmer Abbott Laboratories The Johnson’s Wax Fund, Inc./ Shirley Brockman John G. Paton American Express S.C. Johnson & Son Katherine Brody Gloria Penico American National Can KPMG Foundation Gwendolyn Brown Judy M. Pliquett Ball Corporation Lucent Technologies, Bell Labs Mary Brown Thomas Rex Pryor Beckman Coulter, Inc. Innovations Paul Brown Florence Reynolds Champion International Mobil Foundation, Inc./Mobil Peter Brown Donna Robertson Corporation Corporation Shirley Brown Richard W. Rodean The Chase Manhattan Bank Morgan Stanley Dean Witter Suzanne Brown Margot Romberg Corporation PNC Financial Corporation Philip Browne Elizabeth Rumpel Chrysler Corporation Fund Raytheon Company Jerry Brubaker Margaret Schalit Corning Inc. The Xerox Foundation/Xerox Marilyn Brunner Mary Schranz General Electric Company Corporation Marilyn Brus Helen Spink I.B.M. Corporation Richard Brush R. Crawford Stahl Alan Bryan Eleanor Stanlis Lewis & Karen Buckley Nancy Summers Horace & Nancy Apgar Robert Beckman Ruth Buffington-Elson Russell Suniewick Joan Applegate Brian Bell Mildred Bumphrey Gloria Swisher Sandra Appleman David Bell Betty Burge Mary Traver Kathleen Arecchi Joyce Bennett Joan Burr Scott Trexler Ethel Armeling Sharon Bennett James Busterud Sandy & Suzanne Valerio Paige Armentrout Sally Benson Ione Buyse Katherine Velke John Armesto Frederick Bentz Robert Buzak Elliot & Bethiah Weisgarber Phyllis Arnold Luann Bergman Joseph Byrd Robert & Signe Zale Arto Artinian Donald Bick Mildred Caccamise Maxine Asselin William & Janet Biehler Arthur Campbell Eastman Players George & Judy Astrove George Biggs John Campbell $25–$249 Velora Atkins Judith Binder Larry Campbell Anonymous (1) David & Martha Atwater Betty Birdsey Richard Campbell Jean Abramson Louise Atwood James Birk Arnold & Meriam Cantor Susanna Adams Herbert Ausman David & Nancy Bishop Gay Carbonneau Jane Adler Richard Austin Diane Bishop Cheryl Carnahan Fritz Aebischer Barbara Bacik-Case Ronald Bishop Hoyle Carpenter Patricia Albanese Terrence Bacon Robert Blaine Ronald Carran Philip & Annette Albright Edward & Jane Bahr Dean Blair Jerome & Elaine Carrington Carol Aldridge Winifred Baim Linda Blair Elizabeth Carter Brian & Marci Alegant Elizabeth Baker Betty Blowers Stuart Carter Peter Alexander Rodger & Elga Baker James Bloy Jess Casey Robin Allardice Paul Balshaw Gladys Blue Helen Cha-Pyo David Scott Allen Dorothy Bandemer Melissa Bohl Barbara Chamberlain Paul Allen Zena Baranowski Thomas Bohrer William Chapman Nyaho Brady & Carol Allred Andrea Barkus William Boland Harriet Chase

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Thomas Chase David Damschroder Elinor Erickson Joanne Gaylord Eugenia Cherouski Lewis Danfelt John Erickson Doris Gazda Paul Cherry Richard Daniels Alan Estes Fritz Gearhart Florence Chino Jean Davis David Etheridge Loren Geiger Deborah Chodacki William Davis Gretchen Evans Rosemarie Gentile Nancy Christie Olive Dawson Sarah Evans Margaret George Frank Cipolla Linda Day Paul Evoskevich Daniel Gerhard M. Dale & Carolyn Clark Deborah Daye Edamay Exner Douglas Gerhart Connie Clay William & Mary Decker Jeffrey Fahnestock Pierce Getz J. Bradley & Linda Clayton Lydia DeMarco Mario Falcao O. Lee & Ruth Gibson Margaret Clifford John Dempsey Myron Falck Jay Giese Theodore Cline David & Karen Demsey Peter Farrell Russell Gill Virginia Coats Joyce Denhoff Harry Faulk Marilyn Gillette Cheryl Cobb Jennifer Densen Sara Fay Richard & Rita Gilley Robert Coccagnia Niel Deponte George & Susan Fee Jimmy Gilmore Vienna Cocuzzi Patricia Der Hovsepian James Feldman Coral Glassman Mark Coffey Brooks DeWetter-Smith Edwin Feller Amy Glick Barbara Coffin R. Dale & Beverly Dick Susan Fendler Helen Goff Arthur Cohrs Emma Diemer Lisa Ferrigno Marcia Goldsmith Nadine Cole John & Thelma Diercks Mary Fietzer John Golz Robert Cole Mildred Dillon David Finck Gretchen Gonzales Robert Coleman Richard DiMuzio Arthur Fischman Max Good Donald Coley Nicholas DiVirgilio Frederic Fisher Robert Goodberg N. Morris & Aleta Collier Carol Doehne Irene Fix Ingrid Gordon Robert Collister Mary Donius Helen Fjerstad James Gorton Eleanor Colwell Quenten Doolittle Nadine Flinders George Goslee Larry Combs Carol Doran John Floyd Irene Gossin Catherine Comstock Menzer Doud Cynthia Folio David Graham Judy Congdon Buena Douglas William Foote Phyllis Grant William Congdon James Douthit Vernon Forbes Howard Green Shirley Cooman Holtman J. Daniel Dowdakin Stephen Forman Shirley Green Robert Coomber Yolanda Dragone Robert Fort Terrence Greenawalt Robert Coon Brian Drake Kurt Fowler Robert Greenberg Nancy Cooper Kenneth Drake Arthur Frackenpohl Donald Greene William Copeland Paul Droste Marylou Francis Nancy Greenwood Brooks Dorothy Cordwell James Dumm Emily Franz Margaret Griebling-Haigh Rachel Corrigan Marilyn Dumm Jefferson Fraser Patricia Grimes Helen Corsa James Duncan Hyman Freeman Robert Grocock Robert & Jacqueline Cowden Brian Dykstra Paul & Cornelia Freeman Geoffrey Groshong Gregory Cox Lynn Eberhardt Donald Freund Alane Gruber Shirlie Cox Bette Eberly Samuel Fricano & Kelly Timothy Guenther Barbara Crain Steven Eckblad Monahan Henry Gulick Nancy Crandall Roger Eckers Joseph Fried Nola Gustafson Adell Crane Lucyette Eckert Marilyn Friederich Eloise Guy Gale Creighton William & Rebecca Eckfeld Zita Friedland Paul Guzzetta E. Katherine Crews George Eddinger Jessica Friedlander Mary Hadcock Ella Cripps Linda Edington John Friedrichs Sonya Haddad James Cripps Brent Edstrom Judith Frumker Karen Hagberg Richard Cripps Betsey Edwards Kay Fukuyama Morris Haigh Harris Crohn Helen Edwards Betsy Fulghum William Haldeman Michael Crumb Mark Edwards Stephen Gage Virginia Halfmann Audrey Cupples Kathleen Egan Geraldine Gale Joyce Hall Evelyn Currie Paul Eickmann Anna Gallos Richard Hall Kenneth Cushman Richard Einsel John Galm Muriel Halstead David Cutler Dean Ekberg Anne Gannon M. Halverson Philip Cutlip Bradley Ellingboe Shirley Garami Lynnette Halvorson Adele Cutrali-Valovich Mary Ellison Phyllis Garriss Ingrid Hancock Elizabeth Dabczynski Jennifer Elowitch Evelyn Garvey E. Craig Hankenson Elizabeth Dahlgren Gordon Epperson John & Gertrude Garvey TURN TO PAGE 24 ➧

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➧ FROM PAGE 23 Earle & Paula King Anne Hanson Laura King Todd Hanson Eastman faculty and staff Lyle King Dorothy Happel The School expresses its appreciation to individual faculty and staff James Kirchmyer Kenneth & Marie Harbison who, in addition to their dedicated service, have made gifts this past Edgar Kirk Lois Harp year either in support of the Eastman Fund or for a restricted purpose. Dorothy Kitchen Margot Harrison Charlotte Klein K. Grace Harrop Samuel Adler* & Emily Brown Charles Krusenstjerna* Stephen Klein Norma Hart Adler Abram* & Mildred Loft Leora Kline Nancy Hartman Karen Amico Elizabeth Marvin & Glenn West Paul & Mary-Hannah Klontz Kathleen Hartnagel-Nasuti Dennis Andal* Allison Mayer Nola Knouse K. Drew Hartzell Jan & David Angus Edward & Deborah Mizma Myrta Knox Rachel Hasse Jean Barr John Podvin Frederick Koch Jean Hawk Cherry* & Sharon Beauregard Carrie Remis P. Timothy Koch Shawn Hawley John Beck Ramon L. & Judith S. Ricker Lillian Kollar Donald & Shirley Hayden David Burge* Susan Robertson Anthony Kooiker Alysa Hazelton Searle William & Ruth Cahn Raymond Schirmer* Glenn Koponen Frederick Hebert John* & Mary Celentano Barry Snyder James Kosnik Barton Heefner Cindy Clusen Kerala Snyder Stefanie Kowalski Norman Heim David Craighead* Mildred Stalker* Jeanne Krautwurst Susan Heineman Harold Danko Suzanne Stover Marianne Kremer Peter Heinemann Mary Wallace Davidson David & Jeanne Strong Lucy Krueger Esther Heller Edward* & Kathryn Easley Rita Shane & Daniel Tritter Gerald Krumbholz & Jody William Helmers Jon* & Judith Engberg Mildred Turney Graves Elizabeth Helms Roy Ernst James & Wendy Undercofler David & Susan Kuehn Steven Hemphill Margery Hwang & Richard James VanDemark & Amy Blum Charles Kyriakos Janet Hempton Garth Ruth Watanabe* Ann Labounsky Marjorie Henderson Robert* & Barbara Gauldin Harold Weiss * Amy Lachance Rebecca Henslee D. Stanley Hasty* Phillip Ying Ruth Lakeway Grace Hepburn Sydney* & Betty Hodkinson Zvi & Marianne Zeitlin Helen Lakofsky Dennis Herrick Anastasia Jempelis Harriet Zimmerman Joseph Lalumia Theodore Herzel Mark Kellogg & Joanna Bassett Christopher & Virginia Lamb Michael Hesse Richard Killmer * Retired Lynn Lamkin Peter Hesterman Ralph Lane Leslie Hicken Richard Lane Ralph Hickman & Maria Ann Hutto Lee Joiner Eleanore Lange Archetto Kenley Inglefield Howard & Robin Joines Beatrice Langer Isabel Higgs-Bolinger Ross Inglis Marion Jones Edward Langille William Hilbrink Madeline Ingram Samuel Jones Jennifer Lanter Louise Hill Jeffrey Irvine Sara Jones Robert Lau Giles Hobin Barbara Jackson Rosa Julstrom Catherine Lauffer Thomas Hodgman & Colleen Donald Jackson Francine Kabnick Steven Laven Conway Mary Kay Jackson Wayne Kallstrom Glen Law Charles Hoffer Gregory Jacobs & Margaret Helene Kamen Richard Lawn Martin Hoffer Hanegraaf Peter Kaminsky Jean Lawson Ruth Hoglan Ina Claire Jaeger Alex & Gladys Kanack Katherine Lawson Boyde Hood Louise Jaffe Nancy Kane Jennifer Leach Katherine Hoover Edward Jantschi Tanya Kantor Ethel Leary Lois Hopkins David Jenkins Louis Karchin Jacqueline Leclair James Hoskins Donald Jensen Erin Kaste H. Bruce Lederhouse Barbara Howell Wilma Jensen James Keene Helen Lee Gordon Howell Robert Jesselson Carol Kelly Junghwa Lee Richard Hoyt Dorothy Johns Mary Kelly George Lehman Frank Hruby Lois Johnson Ruth Keraus Catherine Lehr Lura Huckabone M. Bircher Johnson Dorothy Keziah Lester Lehr Igor Hudadoff Margaret Johnson Erik Kibelsbeck Mary Lennon John Hunter Merton Johnson Jinie Kim Loretto Leonard Patricia Hurley Philip Johnson Ben King Judith Leopold Coralie Hurst Darrell Johnston Donald King Mary Levey

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Joseph & Abby Levine D. Kent McDonald Dana Newhouse Betty Philibosian Z. Richard Lieb Jennifer McDonel Phyllis Newsome Nicole Philibosian Colleen Liggett Hugh McElrath Helen Niedung Irving Phillips Eleanor Lindboe Paul McEnderfer Daniel Nimetz Paul & Fredrica Phillips Scott Lindroth Larry McGiboney Oliver Nixon Alexander Pickard Cosmo Lionti John McGrosso Ronald & Sara-Ann Noll Phyllis Pieffer Michael Lipman & Shirli William McKee Virginia Nordbeck Edward Pierce Nikolsburg John McLaughlin Harry Nordstrom Joy Pierce Ruth Little Hulene McLean Richard Norris Thomas Pierson H. Bruce Lobaugh Ian McLuckie Barbara Noval Kurtis Pivert & Jennifer Avery Lockner Marjorie McMahon Jacinto Nunez Newell Elizabeth Lockwood Thomas McMillan Mary Nuttelman William Platt Mark Lopeman Dorothy McMurtry Mary O’Connor Nicholas & Phyllis Poccia Margaret Lorince John McNeill Orpha Ochse Barbara Polk Eleanor Lortz Karen McVay James Ode Steven Pologe Laurence Lowe C. Richard Meek Harvey Olin Marie Pooler Michael Lowenstern David Meese Susan Olinsky Marcella Poppen Tammy Lum Binns Melander John & Margaret Oliver Carol Portice Michael Luxner A. Donald Menz Leola Olson Phillip Posey John Lynes Margaret Merrell Lisa Olson Howard Potter Leslee Mabee Richard Merrell Phyllis Olson G. Stanley Powell Elizabeth MacDonald Margarita Merriman Robert Olson Martha Powell Heather Mahone Patricia Merritt Mark Oncavage William & Doris Preucil Constance Main William Messerschmidt Paul Oncley Carolin Printy Frank Mainous Alfio & Martha Micci Susannah Onwood Donald Puluse Michael Maisel Arthur Michaels Jonathan & Virginia Oram Margaret Quackenbush Daniel Maki Donna Middleton Lorene Osborn Olga Quercia Marjorie Malzahn Jeanne Milder Anthony Ostrowski William Quick M. Arline Mandel Annmarie Miller Robert Ottman Linda Radl Ernest & Lee Manns Helen Miller Willis Page Ralph & Sonya Raimi Shirley Mapstone John Miller Robert Palmatier John & Diane Ralston Barbara Margolis Marian Miller Robert & Margaret Palmieri Ruth Ralston Doris Marinaro Thomas Milligan Karl Parens Virginia Ramig Diane Marino Marian Ming Philip Parker Nancy Rance Ellen Markus Jack Moehlenkamp Olive Parkes Stephen Rapp Miles & Dorothy Markusch Joel Moerschel Judith Parkinson Richard Ratliff Kathy Marsh Richard Moore Carolyn Parks Estate John Ravnan H. Lowen Marshall Robert Moore Angelina Parnall Justin Rawley Pamela Marshall Thomas Moore Wesley Parrott Gardner Read Marlene Marston Mark Mordue Claire Parsons Joan Reals Cindy Martin Jeanne Moreland Steven Parsons Olive Reardon Barbara Martinson John Morgan Elaine Patton Mary Redcay Quentin Marty Mac Morgan Katherine Pavlock David Reed Paul Mast David Mosley Donald Pearson H. Owen Reed Luke Matthew Karl Moyer Leland Peck Sydney Reed-Carlson Ruth Matthews Joan Mulfinger Carol Pellegrino Dorothy Regis John Mauro Riana Muller Jenny Perron Albert Regni Harry Max Joan Mullhaupt Marvin Perry Shirley Reichenberg Lawrence & Linda Maxey Earnest Murphy Priscilla Perry Mary Remington Anne Mayer Michael Nadeau Berly Persia Rita Resch Alfred Mazzocchio Clara Nardi Gordon Peters Robert Restemyer Marguerite McCarty Catherine Nasgowitz Jane Peters Alice Rhodes Duane McClelland Irving Nathanson Theodore Petersen Terry Rhodes Linda McClusky Mary Natvig Dorothy Peterson Ann Rhody Virginia McConnell Maria Neale Faye Peterson Lucile Rice Henry & Annabeth McCorkle Douglas Nelson Jay Peterson Geoffrey Richter Sylvia McCormack Ronald Nelson Stanley & E. Lou Petrulis Arthur Ricketts Dominique McCormick George & Linda Nemeth Edward & Esther Pettengill Jeffrey Riehl Gaelen McCormick Bernard Neubert Roger Phelps TURN TO PAGE 26 ➧

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➧ FROM PAGE 25 Joseph Scianni Clifford Spohr Yvonne Tolliver Edwin Rieke Carolyn Scimone-Rowan William Sprigg Wilfred Townsend Evangeline Rimbach Victoria Scoones Miriam Standen Thomas & Cheryl Toyama Bernice Ring Grace Scott Alan Stanek Estate Lisa Tracy David Ringenbach Elizabeth Seager Bonita Staples Gene Tucker Joan Ringerwole Fay Sebaly David Starke Leslie Tung Lloyd Ringley Sandra Seefeld Barbara Staropoli Lois Tustin Charles Roberts Daria Semegen Steven Staruch Robert Umiker Cathleen Robinson Joan Serfass Patricia Stedge John & Mary Urbach Silvia Roederer James Setapen Gisela Steffe Warren & Carol van Mark & Debbie Rohwer Celeste Shade Betty Stegenga Bronkhorst A. Clyde Roller Raymond Shahin Howard Stein David VanDerkooi Jan Roller James Shake Robert Stein Paul VanderWeele Doris Rollins Susan Shaute Carolyn Steppe Harold VanSchaik Elisabeth Romano Keryn Shaver Max Stern Robert Vehar Bruce Ronkin C. Warren & A. Louanne Robert Stern Basil Vendryes David Rosen Shelton Jo Anne Steubing Carl Vermilyea Henry & Esther Rosenthal Kristen Shoup Jean Stevens Gilbert Vickers Egil Rostad Barbara Showalter John Stevens Teresa Vidergar Bruce Roter Clayton Shufelt Leigh Stevens George Vosburgh Rodney Rothlisberger Judith Shulman Frank Stewart Jay Vosk M. Carol Rothrock Phyllis Shulman Floyd Stivers Jean Wadsworth Robert Rowland Janet Shurr William Stone Rosamond Wadsworth Beatrice Roxin Michael Sides David Stout Irvin Wagner Clair Rozier Nancy Silber Glennis Stout Ellen Waldo Ralph Rozzi Paul Silver Larry Stratemeyer A. John Walker Bernard Rubenstein Elizabeth Simkin Kathryn Stuart Christopher & Megan Wallace David Runner John & Ina Sims Paul Stuart Vivian Wallace Anne Rupert John Sinclair Marilyn Swafford Beverly Ward Charles Rus Betty Singer Natalie Tally Amy Ward Butler Ruth Rus Donald Sipe Mary Tanenbaum Margaret Ward Armand Russell Gertrude Sitzenstatter Howard Tappan Robert Ward Cynthia Russell Emily Skala Paul Tarabek Kathryn Ward-Johnson John Russo Dennis & Judith Skelton Georgetta Tarantelli Howard & Sara Warner Lori Salimando Richard Skerlong Lisa Tarantino Stanley Warren Doris Salis Marilyn Slenk Paul Tardif Robert Washburn Mark Sammons David Slonaker Michael Tarentino Doris Waterman Michael Sanders Daniel & Constance Small James Taylor James Waters James Sanderson Fenwick Smith Lee Teply Robert Waterstripe Marilyn Sandness Janice Smith William & Margaret Alice Wathne Margaret Sandresky Jerry & Joan Smith Thatcher L. Deloyce Watkins Albert Saurini Judith Smith R. Clinton Thayer Beverly Watson Sharon Sawyer Mark Smith Robert Thayer Marian Weaver Stefan Scaggiari Paul & Jacqueline Smith Jane Theiss Rosemary Webster Salvatore Scarpa Priscilla Smith Janet Thomas Janet Weed Albert Schaberg Raymond Smith Judith Thomas Robert Weidner Barbara Schaefer Robert Smith Suzanne Thomas Jeffrey Weiss George Schafer Steven Smith & Stacia Jewel Thompson Julius Weiss David Schantz Lewandowski Marion Thompson Richard Weiss Joseph Scharbo Steven Smith Ralph Thorp Jerene Weitman David Schelat Letty Snethen Peter Throm Carol Weitner Kazmera Schenk David Snow David Thurkins Gerald Welker Paul Scheuerle Donald Snow Louise Titlow Kathryn Welter Dan Schlieben Susan Sobolewski Hyacinthe Tlucek Norma Wendelburg Alfred & Phyllis Schneider Barbara Sonies Alois Tlush Joseph Werner & Diane Smith Maria Schneider Thomas Spacht Anne Tobey Anna Wesley Jean Scholz Timothy Sparks Alan Tobias Craig Westendorf Andrea Schuler Sarah Spencer Mary Todd Carolyn Whaley Natalie Schwartz Alan & Shannon Spicciati Yvonne Toll Philip Wharton

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Doris Wheaton Eric Ziolek Willard Johnson Robert Wayne Raymond Wheeler John Zurfluh Dennis Kain Jane Weissgerber Roy Whelden Sharon Kane Marie Westervelt M. Elizabeth Whippie Other Gifts Dorothy Keating Marsha Wetmore H. Elmore White Carol Allen Jeremy Kempton Milton Wolven Karen White Ian & Barbara Altman Carl Klein Lo-I Yin Kevin White Christopher Anderson Eldon Krantz Ara Zerounian Neva White Emily Anthony MaryAnn Lackovich Heidi Whitehouse R. Susan Anwander Susan Laib David Whiteside David Arenz Christabel Lauinger Deborah Whitney Dona Arnow Robert Leech Restricted William & Marguerite William Arrowsmith Kip Leitner Giving Whybrew Grace Baas Eric Lewis JoAnn Wiebeld Robert Bailey Gail Lewis Many Eastman donors gave to Irwin Wiener Jean Baker Dorothy Little restricted funds that support Ellen Wightman Mozelle Bell Lois Lounsbery particular programs and prior- Elizabeth Wilcox Kevin Bleau Edward Machonkin ities, including student scholar- Gary & Eleanor Wilcox Judith Block John Mahoney ships, library acquisitions, com- Richard Wilder Sharon Bonneau Adele Manson munity partnership programs, Carmen Wilhite Gary Bordner M. Stephanie McCaughey curriculum development, capi- Carolyn Wilhoyte Dorothy Borglum Michael McDonald tal projects, and enhancement Harry Wilkinson William Boyes Mary McKinsey of the School’s instrument William Willett Meg Brennand Charles Miranda stock. Additionally, the School Glenn Williams Laurie Buchanan Richard Moses received numerous gifts-in- Leroy Williams Louise Burr Kathryn Myers kind which provided needed Nathan Williams Ann Campbell Carol Nelson equipment and materials. Robert Williams Carolyn Cantrell Robert Padgett We are sincerely grateful to Robin Williams Joanna Card Stephen Pan the following individuals, Richard Williamson Ann Cobb Glenn Paulson groups, and organizations who David Willoughby John Collins Larry Peterson generously supported a wide Robert Willoughby Joyce Colotti Mary Rapier variety of programs and initia- Teddy Wills R. Gary Deavel John & Jean Roberts tives throughout the year. Ralph Winkler Fred DiCesare Judith Ross George Winters Nancy Douglass Paul Rowe Alumni Herbert Wise Robert Dowd Letha Scanzoni Anonymous (1) Mildred Wiseman Nancy Draper Merton Shatzkin Joan Applegate Anne Witherell Elizabeth DuBois Nancy Shick Robert Baustian Steven Witser June Durkee Frank Sidorfsky John & Elizabeth Buccheri Andrea Wittchen David Eby Edward Small Frances Buxton Estate Stephen Wogaman Deborah Egekvist Mary Smith Roslyn Cominsky Estate Eugene Wolf Joan Eighmey Teresa Smith Frank Cunkle Estate Edward Wolpert Judith Esch Ruth Spalding Mary N. & Randell Dodd Suzette Wood Gregory Falkenstein David Starkweather Christian Ellenwood Waldo & Kathryn Woodworth Hsin-Ting Feng Sean Steiner Adon & Kay Foster Stephanie Woolf Susan Franke Kathryn Stenberg John & Setsuko Fuyuume Thomas Worrall Vincent Frohne Richard Stephan Leatrice & Thomas Gochberg Paul Wos Caroline Frost Rosamond Stone Vivien Goh Robert Wrasman Antonio Garcia Paul Sturm Nancy Hayes Van de Vate Peter Wright Miriam Giannone Ruth Sullivan David Heller Phyllis Wright Harris Goldman Frances Sydnor Betty Kanable Estate Ruth Wright Constance Green Frank Tamburro Thelma Kenison Laurence Wyman Muriel Gundersheimer Robert Taras Nancie Roop Kennedy Edward Yadzinski George Hambrecht Dennis Taylor Glen & Helga Law Donald Yap Gerald Hansen Orlan Thomas Herbert & Louanne Lind Laure Young Carol Harrigan Alexandra Tsilibes Kathy & William Lund Elizabeth Younts Richard Hihn Margaret Voelkel Edna McLaughlin Estate Robert Zajkowski Virginia Howe Hannah Voigt George McWhorter Joseph Zawistowski Mary Hueller Louise Voscinar Michael Nott & Dawn Upshaw Oliver Zinsmeister Charles Hutchins David & Marcia Ward TURN TO PAGE 28 ➧

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➧ FROM PAGE 27 Blaine & LaVerne Briggs Thom George Josef Johns Alan Oettinger Nancy Buckett Adeane Giagios Nan & Bill Johnson Dorothy Ornest Antoinette Buongiorne Robert Giddings Estate Hermenzo Jones Naomi Ornest Therese Burgener Henry & Nancy Gilbert J. Elmore Jones E. Harrison Powley III & Ellen M. Jeanne Burrous Al & Nancy Giordano Earl Kage Lockwood Powley John & Joann Buttler Lou & Mary Giordano Ginger Karren Barbara Raedeke Alan L. Cameros (Cameros Stella Giordano Charles & Naomi Kaufman Salvatore Silipigni Family Lead Trust of the Warren & June Glaser Joseph & Jean Kay Barbara B. Smith United Way of Greater Martha Glick Louise Klinke Betty Strasenburgh Rochester) Gretchen Gmelin Frederick & Rose-Marie Paul Stuart Jean Cardinale B. Thomas Golisano Klipstein (Rochester Area Clarendon & Linda Van Marie M. Carter Suzanne & Gerard Gouvernet Community Foundation) Norman John & Diane Caselli Marianna Graham Brunhilde Knapp Richard Ziter Robert & Susan Chapman Thomas P. Gregory James & Mary Kofron Lee Cheng Donald & Marjorie Grinols Martin & Phyllis Korn Friends Lena Cisternino Marian Griswold Carolyn Kuban Anonymous (2) John W. Clarke Robert & Dorothy Guetzlaff John Kulli & Cynthia Cable Salvatore & Peggy Albano June Clase Ruth Hamburger Nelly Kutchukian George & Frances Alderson Hyman Cohen Roger & Janet Hannay Karen Kutzer (SUNY Marjorie Andreacchi Sarah Collins Karen Noble & Reverend Brockport College E. David & Barbara Sylvia Commins Thomas L. Hanson Foundation) Appelbaum Arnold & Anne Cordts Mary Hargrave Cindy La Tona Charlotta Austin Robert & Ellen Croog E. Ernest & Phyllis Harrison Teresa Lagalante Carol Balmer Donald Cullen Stanley & Rosemarie Hattman Richard Lane Edward & Jeanette Alan Curle Mrs. Thomas H. Hawks R. Alan & Deborah Lattime (D’Agostino) Banker Raymond & Patricia Dayan Eloise De Lay Hayes John & Alice Leddy Clorinda Banks Frances DiGirolamo Joe Heintzman Norma Levin Monty & Marguerite Bates Dorothy DiSpenza H. Lawrence & Joanne S. Teresa Livingstone Norman Bauer Sally Dixon Helfer Kay Logan Ray & Sybilla Bazil Maria Echaniz Bonnie Hindman George & Doris Luckey Kathleen T. Blake Fred & Elinor Elder Christopher & Joanna Charles Lundeen & John Harriet Blow Sam Elowitch & Leah Binder Hodgman Williams Jean Bogiages Kurt & Ruth Enslein Douglas Hodgson & Vera Merritt & Candy Lutz Agneta Borgstedt Giuseppe Erba & Mark Berenbaum Eileen Malone Estate Josephine Borrelli Pierzynski Bernard Hoffer Dean Marsaw Marjorie Bothne-O’Keefe Jerry Fisher & Joyce DeHann Arthur & Maureen Gerald & Eileen Marsh C.M. Bradshaw Esme Foley Holtzman Delores & Fiorvante Warren & Elizabeth Kathleen Ford Roger & Ruth Hopkins Martusciello Brandkamp Harry & Marion Fulbright Theodore & Barbara Horvath Gilbert McCurdy Gary Bricault David Gardner Emily Jennings Jacqueline McLean

Those recognized by your gifts David Craighead Ernestine Flatt Goheen † Fay Stinson Craighead † Catherine Gorton † Many of the donations received throughout the 2000–2001 academic year Jacqueline D. Cullen † Robert and Gina Graham † were made in recognition of family members, friends, colleagues and Jan DeGaetani † Jerald C. Graue † beloved teachers. Listed below are those individuals for whom honorary John A. Dragone † Wallace Robert Gray † or memorial gifts were made. Jose Echaniz † Roger & Beatrice Greene Jennifer Elowitch Thomas Griswold † Samuel Adler Harry & Helen M. Binder † Pattee Evenson † Dr. Richard Grunow Fred V. Alati † Andrew Bogiages † Milford Fargo † Peter Hadcock † Evelyn A. Allen † Janet Scott Bon † Michael Farris † Howard Hanson † Evelyn Wells Angell † Abram Boone † Mrs. William (Mildred) Charles C. Hill † Ann Anway † Wallis Braman † Feinbloom † Syd Hodkinson Rufus M. Arey † Lynne Clarke † Renée Fleming Boris Hudadoff † Glen D. Atkins † Carol Cloos † Charles W. Fox † Julius Huehn † Betty Bauer † Bonnie Jean (Tramp) Copeland † Rich Funke, Jr. † Elsa T. Johnson † Ellen Beckwith † Georgia Cowles † Herman Genhart † TURN TO PAGE 29 ➧

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Helen Mercurio Alan & Jo Ann Schoenegge Mary Alice & Robert Wolf The Community Foundation Donald Messina Russ Schultz (Rochester Area Community for Greater New Haven Daniel M. Meyers Jon & Katherine Schumacher Foundation) (Elsa T. Johnson Fellowships David Miles Jonathan Schwabe Carolyn Wolfe Fund) Roberta Miller John & Karen Sebo Jessie Woodward The Davenport-Hatch Jacek & Colleen Michael & Sharon Kay Sells Gordon & Nancy Wright Foundation, Inc. Mokrzewski Gretchen Shafer W.S. & Jessie Wright Dover Publications, Inc. Ilene Montana Malcolm & Janice Shaffer Patricia Yuzawa-Rubin The Elizabeth F. Cheney Maureen Moore Ronald Sider Bernard & Virginia Zeifang Foundation Charles Morgan Ruth Smith William F. & Mildred Katherine Moriarty Mario & Catherine Sorge Associations and groups Feinbloom Foundation, Inc. Martha Moyle Lena Soricone Boces #1 EMCC Sunshine Ann & Gordon Getty James & Suzanne Mueller Angelo & Gloria Spampinato Fund Foundation John & Annabel Muenter Bessie Spector Friends of Eastman Opera The Liberace Foundation for Maria Musone Allen & Suzy Spencer The Gleaners Class the Performing & Creative Beryl & Joan Nusbaum The Family of Charles R. International Student Arts Su Mi Oh Starke: Scholarship Committee The Andrew W. Mellon Elizabeth Osta & George D. • Kathryn Starke Management Team of CVS 753 Foundation Van Arsdale John & Sally States Mu Phi Epsilon: Rochester Morgan Stanley Dean Witter Bernard & Molly Panner Dr. & Mrs. James M.Stewart Chapter Foundation May Pao Dr. & Mrs. Alexander L. John Myers Photography The Presser Foundation Richard Pecora Strasser The Optimist Club of Winston- Rochester Area Community David & Marjorie Perlman Donald Sun Salem Foundation Elizabeth Phillips Sue & Gary Tebor Student Support Services/ Rochester Area Community Joanne Prives Elizabeth Thaler Committee on Special Foundation (Anne McQuay Margaret Proctor Joyce & Brian Thompson Education: Rochester City Arts and Cultural Fund; Herbert & Kay Rees Laura Tripp School District Fund for the Fine and Richard Reisem & Josef Mrs. Richard L. Turner Tay House Troop #19 of the Performing Arts) Johns R.A. Unzicker Boy Scouts of America Ronald McDonald House Louise Wallace Reynolds Marienne Uszler U.S. Postal Service Charities Mr. & Mrs. George M. Rich Gary & Marie VanGraafeiland William Warfield Scholarship The Catherine Filene Shouse Daniel & Nancy Robbins Sharon Vasquez Fund, Inc. Foundation Lawrence & Lucia Root Henry & Laura Viau The Starr Foundation Richard & Margery Rosen George Wallace Corporations Surdna Foundation, Inc. Stephen & Elise Rosenfeld Mr. & Mrs. Norris L. Webster and foundations Target Stores Margaret Russell Carol Weed Adflex Corporation Fred & Floy Willmott Bruce R. Rychwalski Harriet Whallon Max A. Adler Charitable Foundation Margie & Martin Sabath William Whallon Foundation Peggy Savlov Karen & Edward White The ASCAP Foundation Susan Schilling John Elwood & Jade Williams Avedis Zildjian Company

➧ FROM PAGE 28 David R. McConnell † Emory and Laura Remington † David Turney † Clifford Julstrom † Seth McCoy † Russell Saunders † Francis Tursi † Dr. Betty Kanable † Sarah Dudley McEnderfer † Florence Schoenegge † Sandor Vas † Anna Kaskias † Allen I. McHose † Alice Mary Schwab † Gideon Waldrop † Jessie Kneisel † E. McLeod Vance Thomas J. Curtis Shake † Lupercio Wallace Jr. † Barbara Koeng † Marian McPartland Raymond Shiner † Dr. Ruth Watanabe Charles Krusenstjerna Louise Messina † Brooks Smith † Harry Watts † Max Landow † Mary Jo Monfredo † Clyde Smith H. Richard Weissgerber † Robert Lauffer † Steiner B. Moore † Charles R. Starke † Evan Whallon † Paul H. Laverty † Joseph Moriano John Storer † Raymond S. Wilson † Arthur Leo † Virginia Pete Morgan † William Street † Tim Ying Ernest F. Livingstone † William F. Osseck † Robert Sutton † Dorothy Ziegler † Catherine Irene Martin Lopez Lou Ouzer Millard Taylor † Oscar Zimmerman † Eileen Malone † Maria Paradiso-Kelley † Kerstin Thorborg † Joseph Marciano Dr. Harry B. Peters † Maxine Tillotson † Jack R. Mason † Dr. & Mrs. Vincent Prioletti † Dr. Nelita True † Deceased

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and fascinate Eastman com- posers with concerts of Indian, Balinese, African, and Caribbean music. All this in addition to our series of Com- poser Forums and readings and performances of student works by the Eastman Phil- harmonia, Eastman School Symphony Orchestra, East- man Wind Ensemble, and Musica Nova. The Eastman composition faculty continues to shine. The Chicago Symphony Orchestra presented the world premiere of Pulitzer prize winner Christopher Rouse’s clarinet con- certo on May 17, 2001, alum- nus Larry Combs,clarinet, and Christoph Eschenbach, conductor. Other premieres included his Concert de Gaudi (co-commis- GELFAND-PIPER sioned by the Norddeutsche Professor of Composition Robert Morris works with student Dennis DeSantis in the Computer Music Center, which Rundfunk and the Dallas provides computing and digital audio facilities for compositional, theoretical, research, and performance activities. Symphony Orchestra), Rap- ture (commissioned by the COMPOSITION Pittsburgh Symphony), and Rapturedux (commissioned by the Royal Northern College of Music Manchester Interna- tional Cello Festival). Rouse BY ROBERT MORRIS the most eminent film com- recent orchestral works and received an honorary doctorate poser on the scene today and premieres of student composi- from the State University of he composition depart- former director of the Boston tions. Alarm Will Sound, a pro- New York at Geneseo and the ment experienced a ful- Pops. fessional ensemble founded by DuPont Award from the Dela- filling year of memo- The musical environment several Ossia members, joined ware Symphony Orchestra. T rable and stimulating for composers was especially Ossia to perform Desert Music David Liptak’s music saw events. A number of eminent exciting this past year. We and Reich’s Tehillim. many performances this year. composers held forth on their heard many wonderful per- In December, The New York Eastman alumnus Paul Merkelo music and ideas in our weekly formances by Musica Nova, New Music Ensemble pre- performed Liptak’s Trumpet Composer Symposium. Our Eastman’s new-music ensem- sented a delightful concert of Concerto with the Montreal visitors included Finnish com- ble, performing works by music by Elliott Carter, Jacob Symphony. The Eastman poser Magnus Lindburg; Martin Adams, Bresnick, Georgy Druckman, Jonathan Harvey, Opera Theatre presented four Bresnick from Yale and Lisa Ligeti, Steven Stucky, and David Rakowsky, and Melinda performances of Liptak’s Moore (new music pianist and Stravinsky. Musica Nova is Wagner. This year’s Image- chamber opera The Moon Eastman alumna); the impec- conducted by Brad Lubman,a MovementSound festival, coor- Singer at Eastman, and then cable pianist and composer composer of talent and origi- dinated by Allan Schindler performed the work, written Yehudhi Wyner from Brandeis nality. (director of the Eastman Com- for young audiences, in ele- and Harvard; Peter Child, also Ossia, the student-run new- puter Music Studios) and mentary schools in the from Brandeis; Robert A. Moog, music organization, produced Stephanie Maxwell (of the Rochester area. The Rochester inventor of the Moog synthe- a number of great perform- Rochester Institute of Technol- Philharmonic Youth Orches- sizer and pioneer in electronic ances including John Cage’s ogy), presented mixed media tra, with conductor David Har- music; film and concert music Song Books, Harrison Birtwistle’s works by Schindler, Maxwell, man,gave three performances composer Paul Chihara, profes- Carmen Arcadiae Mechanicae Eastman alumnus Nicholas of Liptak’s Rush as part of an sor at UCLA; John Adams, Perpetuum, and Steve Reich’s Scherzinger, and grad students April tour of France. Violist America’s distinguished and Desert Music. Ossia also Gavin Chuck and Kevin Earnest. and Eastman Professor John most often performed concert- treated us to concerts includ- And Eastman’s World Music Graham gave several perform- music composer; John Williams, ing “Third Stream” music, Series continued to stimulate ances of music by Liptak in

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China and Taiwan. has received many perform- Allan Schindler continues to ances including concerts at the collaborate with filmmaker Faculty engagements Lake Placid Institute and at Stephanie Maxwell. Their pre- Eastman faculty perform and versity of Florida, Gainesville, FL Princeton University. He is vious film/musical composi- lecture around the country and Jan. 13, 2002, solo recital, St. working on commissions for a tions have won many awards around the world. Here is a Mark’s Episcopal Church, Marco solo work for pianist Fang-Tzu and are shown throughout the sampling of their plans for the Island, FL Liu and for a work for viola United States and Europe. coming year. Jan. 27, 2002, Salon Concerts, and electronics for Eastman Their most recent piece is Rochester Academy of Medi- Professor John Graham. LightPipe, premiered at the John H. Beck cine, Rochester, NY Among DMA student Stefan ImageMovementSound festi- Professor of Percussion Freund’s many performances, val mentioned earlier. December 7–9, adjudicator, Fred Sturm his brass quintet Metal was Schindler’s Akhmatova Songs International Timpani Competi- Professor of Jazz Studies and played on multiple occasions for soprano, cello, and com- tion “Journées de la Percus- Contemporary Media in the Washington, D.C., area puter-generated sounds had sion,” Paris, France Dec. 21, conductor, Eastman and in Chicago. His On Fire its first performance with February 9–17, 2002, adjudicator, Jazz Ensemble at Midwest Clinic, for violin and piano was heard soprano Pamela Jordan Schiffer International Percussion Compe- Chicago Hilton Hotel, IL at the Royal Irish Academy of on the Washington Music tition, Luxembourg Jan. 24–26, conductor, Georgia Music and the Messiaen Festi- Forum at the National Gallery All-State Jazz Ensemble, GA val in Dublin, Ireland. The in Washington, D.C. Rebecca Penneys Feb. 15, conductor, “Miles New York Youth Symphony Schindler’s “A Csound Tutor- Professor of Piano Ahead: The Genius of Gil Evans” performed his No Apologies in ial” is included in The Csound Nov. 4, duo recital with Arie Lip- with the Eastman Jazz Ensemble May, a “First Music Commis- Book and accompanying CD- sky, Canisius College Art Center, and guest trumpet soloist Clay sion,” in Carnegie Hall in New ROM, published by MIT Press. Buffalo, NY Jenkins, Eastman Theatre, York. Freund currently is Steven Stucky, from Cornell, Nov. 11, New Arts Trio, Ashland Rochester, NY working on commissions from filled in as visiting professor of University, OH March 8, conductor, “The Music the Phoenix Symphony composition while Christopher Nov. 18, Salon Concerts, of Harold Danko” with the East- Orchestra, the Pittsburgh New Rouse was away on leave in Rochester Academy of Medi- man Studio Orchestra and guest Music Ensemble, Pastiche, the the winter term of 2001. cine, Rochester, NY composer Harold Danko, East- McNeese State University Stucky taught with Rouse at Nov. 30–Dec. 1, solo recital and man Theatre, Rochester, NY Wind Ensemble, Paul York the Aspen Music Festival and all-day seminar for teachers and April 17–20, conductor, Pennsyl- (professor of cello, University School in June–July, where he students, St. Petersburg Junior vania All-State Jazz Ensemble, PA of Louisville) and Gary Ham- was composer in residence. College, FL May 9–11, conductor, Iowa All- mond (professor of piano, Stucky’s Double Concerto for Jan. 10, 2002, New Arts Trio, Uni- State Jazz Ensemble, IA Hunter College). Violin and Oboe, performed by PhD candidate Gregory Mertl Orchestra 2001, was released (PhD candidate) continues his last fall on CRI records (CD for chorus and orchestra scat- formances in New York, association with choreogra- 847), as was his Funeral Music tered in the woods and trails of Boston, Philadelphia, and the pher Augusto Soledade and for Queen Mary on Albany Webster Park, NY. My new Midwest. His The Things That the Brazz Dance Company Records (TROY 444). Other book, Class Notes for Advanced Pass for Knowledge was played with the performance of Stable Stucky compositions will soon Atonal Theory (2 vols.), the on the North River Music Flux, premiered at Smith Col- be released on Albany Records. material from a theory course Series at The Greenwich lege in April. This summer As for yours truly, my music I taught at Eastman up to House in New York City. He Mertl was composer-in-resi- was featured in a concert of 1998, is available from Frog plays percussion in a number dence at the Chamber Music the Cygnus New Music Peak Music. I’ve also pub- of new music ensembles such Festival of the East. Mertl’s Ensemble in Merkin Hall in lished two long papers on the as the Yesaroun’ Duo, the The immediate projects include the New York last October. My music of John Cage and Milton Kamellion Duo, and The Dogs Big Ten Band Commission, a Three Musicians will shortly Babbitt, respectively, in The of Desire. commission from the Phoenix be released on Neuma Open Space Magazine. DMA student Kenneth Eber- Symphony, and a work for Records. The first performance Many of our grad composers hard’s sextet The Road to Las Eastman Professor of Violin of my 10-instrument composi- have received awards, honors, Cruces was performed by Oleh Krysa. tion In Concert,written for and important performances eighth blackbird on their PhD student Aaron Travers Musica Nova, was simulcast this year. PhD candidate Todd 2000–01 concert tour. His received a commission for a over the Internet through the Coleman’s choral work Trees Cross Section was performed new piece for the Chicago American Music Center’s won the ScorchMusic Compos- by the New England Chamber Civic Orchestra, conducted by “New Music Box.” By the time ing and Arranging Competi- Orchestra in April. Cliff Colnot, as part of the you read this, I will have expe- tion. PhD student Kevin Ernste’s Chicago Symphony Orches- rienced the premiere of my DMA student Dennis piece Kajato for trumpet/ tra’s “First Hearing” program. composition “Playing Outside” DeSantis’ music received per- fluegelhorn and electronics TURN TO PAGE 32 ➧

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➧ FROM PAGE 31 DMA candidate Greg Wilder received a 2001 ASCAP Music Achievement Award. His Con- certo for Piano and Computer was performed at the Lewis University Composition Com- petition. Wilder’s music was also selected for performance at the Society of Composers Inc. 2000 National Conference and the MATA 2001 Midwin- ter festival. Wilder was invited to participate as guest in the annual 2001 Bowling Green New Music Festival. But amid all of the engross- ing and exciting events and achievements in and of the composition department, there is one sad note: Augusta Read Thomas decided to resign from the School and join the faculty GELFAND-PIPER of Northwestern University. Associate Professor of Theory Steven Laitz Her demanding and compli- cated international schedule, cianship and impressive schol- her responsibilities as com- THEORY arly accomplishment in his poser-in-residence at the studies in music perception Chicago Symphony, and a long and cognition, and will cer- list of commissions and other tainly strengthen our program professional commitments led BY ROBERT WASON move at the end of last year to at all levels. Our senior search, her to make this unhappy Temple University, there seem on the other hand, was incon- decision. She is very sorry to he Eastman Depart- to be fewer senior colleagues clusive; we’ll return to it this have to leave us and has ment of Music Theory each year as I look around the year to try for a final cadence. repeatedly assured us that she continues to thrive! room at department meetings. We’re conscious of the dearth will always love Eastman. As a T Indeed, with the recent (I do hold such meetings on of senior-types around here, result, we are holding a search ascension of Betsy Marvin to the occasion, though I am famous however: Professor John Covach for an eminent composer to academic deanship, following for trying to do as much of the University of North Car- take Thomas’ place. In her Marie Rolf’s appointment a few department business as possi- olina will take up the slack by stead and during David Lip- years back to the graduate ble via email.) Fortunately for visiting us this fall to give a tak’s leave in the winter of deanship (a position she con- us, Steve Laitz joins the senior PhD seminar in “Analysis of 2002, we look forward to three tinues to hold, though she is on ranks, having made tenure last Popular Music.” We all wel- visiting professors in composi- leave this year), it is difficult spring. Bravo, Steve! come him, and look forward to tion – James Willey, Steven not to conclude that success in Still, we must do some ener- the extraordinarily versatile Stucky, and Daniel Godfrey – all the Eastman theory depart- getic searching to build up our scholarly expertise he brings exemplary teachers, composers ment is a sure ticket to the top. ranks, and the Eastman to us. Gabriela Ilnitchi of our of note, and friends of the However, Betsy’s new assign- administration clearly recog- musicology faculty will also School. ment has left me the somewhat nizes that fact. After inter- give a PhD seminar for us this For those of you who would reluctant solo-chair of what viewing the very best appli- fall (cross-listed in musicology) like to obtain further informa- seems like a shrinking depart- cants in the field for our junior titled “Topics in Medieval and tion about the composition ment: Given the administra- position last year, I’m happy to Renaissance Music Theory.” As department, please visit our tive responsibilities Marie and announce that we settled part of our revised PhD pro- web page at http://www. she have taken on, Bob Morris’ unanimously on David Temper- gram, we hope to be able to rochester.edu/Eastman/compo- recent full-time move to compo- ley, who had been teaching for offer two PhD seminars per sition/. ❧ sition (as chair of the depart- us on a one-year appointment. semester on a regular basis. ment), Bob Gauldin’s retirement We are fortunate indeed that Gabriela’s course is evidence Composition Professor Robert (though we are fortunate to he will be joining us this year of the closer collaboration Morris is chair of the composi- have him teaching for us part- in a tenure-track position. between the departments of tion department. time), and Aleck Brinkman’s Davy brings both solid musi- TURN TO PAGE 33 ➧

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➧ FROM PAGE 32 ulty: This year Norman Carey (University of Washington), of visitors this year, which will musicology and theory that has a Junior Leave in the fall, and Brian Alegant (Oberlin). To begin with Allen Forte lecturing Ralph Locke,chair of musicol- and Steve Laitz has a Bridging give some idea of the extraor- on, and Madeleine Forte per- ogy, and I hope will mark our Fellowship in the spring. Steve dinary range of topics, I’ll forming piano music of Messi- tenures as department chairs. will be our ambassador to describe the first and last lec- aen (early October), and con- To this end, we’ve started off applied studies at Eastman, tures of the series: In October, clude with a lecture and per- our regimes by reorganizing having conceived a bridging Professor David Cohen of Har- formance by Victor Rosenbaum the office staff: No longer will project with the relatively new vard University spoke on the (early April). Though as of this there be a “musicology secre- Department of Chamber origin of the notion of a “note” writing I look forward to a cou- tary” and a “theory secretary.” Music, in which he will explore in Carolingian treatises of the ple of weeks in which to try to Amy Bray (former musicology connections between music ninth and 10th centuries, and catch up on my many projects secretary) had left to assume theory and various aspects of in April, Professor Franz Krieger, (and have a little vacation, an administrative assistant applied music study. editor of Jazzforschung/Jazz since I did teach summer position in the philosophy Our series of visiting lectur- Research and professor at the school), I also look forward to department at The College ers was a particularly rich one University of Music and Dra- what I am sure will be an some time back (we made do last year. Eminent visiting matic Arts in Graz, Austria, exciting and musically fulfill- with temps this year), and scholars included John Roeder spoke on Miles Davis’ fusion ing year at Eastman. ❧ Roseanne Scheuermann, who (UBC), Wayne Slawson (UC, music from Bitches Brew needs no introduction to any Davis), Sandra Trehub (Univer- (1968) up to You’re Under Professor of Theory Robert interested reader of this col- sity of Toronto), Ethan Haimo Arrest (1985). We look forward Wason is theory department umn, decided to retire at the (Notre Dame), Jonathan Bernard to another stimulating series chair. end of the spring term, after nearly 20 years of service – KEYBOARD often beyond the call of duty – as theory secretary. We will all miss her. In planning for the future, Ralph and I managed to upgrade one of the positions BY DAVID HIGGS contemporary, classical, jazz, year – the visiting professor of to an “administrative assis- and world music, in order to organ improvisation. This fall tant,” who will be in charge of his fall, Eastman began reflect those styles of worship. semester, William Porter holds the office and all the work car- to offer a new Sacred The curriculum stresses both this position, which will rotate ried out in it. We are thrilled to Music Diploma, an understanding of historical among several organ improvi- welcome our new administra- Tdesigned to equip stu- perspectives in liturgy and sation experts in future years. tive assistant, Kathy Buechel, dents with the knowledge and music, as well as practical Widely known as a virtuoso who has her own office next to tools necessary to meet the skills that will meet the variety and scholar, Porter has Ralph’s, and in time, will cer- challenges of the rapidly chang- of styles in today’s worship.” achieved international recogni- tainly know more about the ing and diverse settings in The diploma’s requirements tion for his improvisation skills day-to-day operation of both of which sacred music is practiced include a unique two-semester in a variety of styles, and for our departments than we do. today.The 24-credit diploma supervised internship in a local his leading role in the recovery Kathy is joined by Deanna “will ground students in a vari- church or synagogue, adminis- of this historical approach to Kirisits,who works in the space the instrument. “Improvisation between Ralph’s office and is a one-time event,” said mine, now a bit less cramped Porter. “Whenever people real- than it was previously. ize what is happening, that it The theory department wel- “Improvisation is a one-time is being done ‘just for them,’ comes back Ciro Scotto, who people pay attention. That was off all of last year: Ciro event … That kind of music- kind of music-making creates had a Junior Leave in the fall, community, and helps people and then a Bridging Fellow- making creates community.” define what they are about on ship to the mathematics and that particular Sunday morn- engineering departments at ety of worship traditions, both tered by DuBois and an advi- ing.” Porter will visit Eastman The College in the spring. We’ll liturgical and non-liturgical,” sory committee of Eastman from the New England Conser- put Ciro’s enhanced technical said newly appointed Program faculty. Students enrolled in vatory of Music in Boston, expertise to work very soon: Director Peter DuBois, who is any undergraduate or graduate where he also is artist-in-resi- He’ll be giving a PhD seminar also director of music at Roch- degree program at Eastman dence at that city’s prominent this coming spring on “trans- ester’s Third Presbyterian may apply for the diploma First Lutheran Church. formational theory.” A mark of Church and an Eastman alum- program. The entire Eastman School our success is that we continue nus. “Today’s leaders in sacred A permanent faculty posi- organ department will be tak- to get such leaves for our fac- music need to be conversant in tion has been reinstated this TURN TO PAGE 34 ➧

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➧ FROM PAGE 33 Davidsson. “These indications Christian Lane; Region VIII since the William Warfield ing a two-week “field trip” to are possible to realize on the Eugene, OR: Rico Contenti. Sec- Partnership began five years Göteborg, Sweden to see first- Göteborg organs. It’s as if one ond Prizes went to Lee Wright, ago. Congratulations, Devon! hand what the future holds for had access to a cookbook with Region II Binghamton, NY; We welcome Donna back into their instrument. The trip was wonderful recipes, but without and Daniel Hahn, Region IV the department with a full- postponed this fall because of the appropriate ingredients. Jackson, MS. Fred Teardo and time teaching load. As you recent international events, but Our fall trip will allow us to Rico Contenti also won the read on, you will see that she will be rescheduled soon. The ‘cook and taste’ original and first and second prizes, respec- has been busy outside of the trip is made possible in part by delicious ‘musical meals,’ so tively, in the first Augustana department as well. the recent addition to the East- important for our understand- Arts/Reuter National Under- In addition to the music edu- man faculty of noted Swedish ing and interpretation of our graduate Organ Competition, cation department’s continuing organist Hans Davidsson,the common musical heritage.” held in Denver this past Feb- commitment to the greater founder, artistic, and research Our goal is to equip East- ruary. Fred Teardo also was a Rochester community and to director of the Göteborg Organ man students to become lead- semi-finalist in the St. Albans New York state, the faculty is Art Center (GOArt), an inter- ers in the field, and this trip International Competition involved in a variety of activi- national center for research in will allow our students to held in St. Albans England in ties throughout the country historical organ building and experience firsthand the kinds July, and was the youngest of and abroad. This has been an performance practice. of organs that were the gene- 15 competitors to be chosen to unusually rewarding year both Through GOArt, the East- sis of so much of our standard compete in St. Albans from a in terms of global outreach and man visitors will have private repertory. pool of 80 entrants worldwide. notable publications. Following lessons, attend lectures, semi- Organ students at Eastman Sonia Kim won first prize at the are but a few contributions: nars, lessons, master classes, did quite well on the competi- Ft. Wayne National Organ Associate Professor Louis and concerts on 10 historical tion scene this past spring. In Competition. Timothy Pyper won Bergonzi,immediate past presi- instruments, in addition to the American Guild of Organ- first prize in the Royal Cana- dent of ASTA, continues an exchanging ideas with students ists Regional Competitions, dian College of Organists active conducting schedule from the School of Music at held during each of the nine National Competition in with six all-state presentations Göteborg University.To learn Regional AGO Conventions Toronto. Congratulations to all and an appearance with the more about GOArt, check their throughout the United States, of our fine young players! ❧ Melbourne Youth Music Sum- web site: http://www.hum.gu.se/ three current undergraduate mer Orchestra in Melbourne, goart/. students won first prizes, and Associate Professor of Organ Australia. The Australia trip “Much of the European two won second prizes. First David Higgs is co-chair of included workshops and pre- organ music we play today prize winners were: Region II Eastman’s keyboard depart- sentations in Adelaide, Bris- contains indications referring Binghamton, NY: Timothy Pyper; ment and head of its organ bane, Melbourne, and Towns- to original instruments,” said Region III Allentown, PA: program. ville. Louis also presented in China (Beijing Conservatory, MUSIC EDUCATION Shanghai Conservatory, Nanji- ing Childrens’ Palace, and Suz- chou Governor’s School) as a part of the String Instrument Education Delegation to China, BY RICHARD F. GRUNOW assessment and an essay, and tions that existed in the early People to People Ambassador we have also instituted a soph- ’70s. Donna established the Program. Bergonzi’s recent reetings from the omore review. Double major or Gibbs Street Connection, a publications include Rounds Music Education double degree students in the professional development pro- and canons for strings: Shap- Department. As I write undergraduate program may gram for local teachers in col- ing musical independence (Kjos Gmy first column in choose the FORTE program laboration with the RPO. Publishers); “What String Mat- Notes,I am pleased to reflect and receive a ninth semester of Under her leadership, we also ters Matter?” chapter in D. on the many accomplishments full tuition support for student have a new partnership with Eliott (Ed.), Deciding matters of my predecessor, Donna Brink teaching. At the graduate the Rochester City School Dis- in music education (Oxford Fox.Following are a few of the level, we have established a trict music programs. Speak- University Press); “Teaching highlights during her nine- qualifying examination for the ing of the partnership, we are traditional contemporary clas- year tenure that have not only PhD in Music Education. With pleased to announce that sical music in school orchestra: impacted the undergraduate two additional faculty coming Devon Tramell,a graduate of the Let’s not be too polite,” chapter and graduate programs, but on board (Susan Conkling and School of the Arts (SOTA) in in D. Littrell (Ed.) Teaching also have extended far beyond Kathy Robinson), we have added Rochester, is a freshman at music through performance in the walls of Eastman. expertise in choral music and Eastman this fall majoring in orchestra (GIA Publications); Admissions procedures for multicultural perspectives, and Music Education (trumpet). and a collaboration with J.B. undergraduates have been the department has returned Devon is the first RSCD stu- Smith titled “Americans’ musi- upgraded to include a skills to the six full-time faculty posi- dent to enroll at Eastman TURN TO PAGE 35 ➧

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➧ FROM PAGE 34 Winds and Percussion and cal preferences: Changes and A note from the School Historian Jump Right In: The Instru- choices. An analysis of the mental Series – for Strings was 1985–1997 surveys of public BY VINCENT LENTI released in 2000– participation in the arts” (The I am very happy to have been and early 1930s, several of whom 2001. The revision includes a National Endowment for the appointed the new historian at were still teaching in the 1940s Teachers Guide, Student Book Arts, Research Division). the Eastman School of Music, and 1950s. Among these mem- One/CD and Student Book During the past year, Associ- with plans for a number of publi- bers of the faculty would be peo- Two/CD for winds, percussion, ate Professor Susan Conkling cations that will relate the fasci- ple such as Rufus Arey, Samuel and strings. Recordings fea- completed her residency as a nating history of the School. Belov, Lucy Lee Call, Harold ture faculty artists and stu- Carnegie Scholar in the Pew Having been continuously at Gleason, Effie Knauss, Max dents at Eastman, members of National Fellowship Program Eastman since 1956 when I Landow, Emory Remington, Gus- the Rochester Philharmonic for Carnegie Scholars. In addi- arrived as a freshman, I feel priv- tav Tinlot, Sandor Vas, and Orchestra, and members of tion to presenting at ISME, ileged to have witnessed a great Jeanne Woolford. If you have Rhythm & Brass. she was elected a commis- deal of the School’s history. I any stories and impressions con- Assistant Professor Kathy sioner from the United States have been able to experience cerning any of these people – or Robinson, continues to co-direct to the ISME Commission on Eastman as an undergraduate their colleagues from the earlier the Kimberley Project, a 6- to the Education of the Profes- and graduate student, a member decades at Eastman – please 8-week summer collaborative sional Musician. Susan’s of the faculty for 38 years, and a contact me. music teaching/learning proj- recent presentations also member of the administration for You can reach me by mail, ect involving Rochester, included the “Scholarship of 26 of those 38 years. phone, fax, or e-mail: Vincent Philadelphia, and Kimberley, Teaching and Learning in To assist me in my work, I Lenti, Eastman School of Music, South Africa. In addition to Music” at the 20th Annual would like to ask the assistance 26 Gibbs Street, Rochester, New directing the Rochester All- Lilly Conference on College of fellow alumni. At the present York 14604, 585-338-1784 (home City Elementary Chorus and Teaching (Miami of Ohio); the time, I am most interested in any phone), 585-274-1594 (School presenting Orff workshops in American Association for recollections of faculty members phone), 585-338-7503 (fax), Rochester and Northern New Higher Education Forum on who were appointed in the 1920s [email protected] (e-mail). Jersey, Kathy was a clinician Faculty Roles and Rewards at the National Association for (Tampa, FL); and the College the Study and Performance of Music Society International Australia; and Cambria Pines, tion at Central Missouri State African American Music (NAS- Conference (Limerick, Ireland). CA. As director of the national University and Central Con- PAAM) Biennial Conference in Conkling presented research New Horizons Music Project, necticut State University. Birmingham, AL; Mountain on professional development he will travel to many loca- Richard Grunow, professor of Lake Colloquium for Teachers partnerships in music at the tions this year to plan for addi- music education, presented of General Music in Mountain Desert Skies Music Education tional bands and orchestras. workshops for the New York Lake, VA; and for the Loudon Research Symposium (Tucson, Donna Brink Fox, Eisenhart City Public Schools and Oak- County School District in Res- AZ); and with doctoral student Professor of Music Education, land, CA, Public Schools. In ton, VA. In fall 2001 she will Michele McCall, she presented consulted on the design of an addition to appointments at travel to Germany for an in- at the American Choral Direc- early childhood music program Duquesne University, the Uni- vited presentation at the Euro- tors Association national con- for the Santa Fe Chamber versity of South Carolina, and pean Music Educators Confer- ference (San Antonio, TX). Arti- Music Festival last fall, and SUNY at Buffalo, he was a cli- ence (EMEA). She also will cles by Professor Conkling also she presented two demonstra- nician at the Orff and OAKE attend the American Orff appeared recently in Choral tion classes of infants and par- national conventions. Foreign Schulwerk Association conven- Journal and Journal of Music ents for the national Orff con- travel took Richard to Asia in tion in Cincinnati, OH, and Teacher Education. vention. During the last May where he presented Jump present at the New York State “Music for Life,” an article semester, she did a two-day Right In: The Instrumental School Music Conference in by Professor Roy Ernst, residency at Pasadena City Series at the American Insti- Rochester. appeared as a part of the pres- College on early childhood tute for Music (AIM) in Kiryu, As we enter the 21st cen- tigious Grand Masters Series music methods and a daylong Japan. AIM was founded by tury, it is obvious that the of the Music Educators Jour- workshop for the Los Angeles Eastman graduates, Todd and music education department is nal (July 2001 issue). During Chapter of the AOSA. Donna Chandra (Fortune) Lowery.He expanding its educational com- the last year Roy made presen- traveled to Phoenix in the also lectured at the two-week mitment on a global scale and tations at the national Orff spring where she spent two seminar for the Gordon Insti- in a variety of venues. I look conference and the conference days with early childhood tute for Music Learning of forward to updating you on of the Florida Music Education classroom teachers who are Poland in Bydgoszcz, Poland, many innovations to come. ❧ Association. His travels in the involved in one of the Texaco with Eastman graduates Edwin coming months include con- grant projects. In June and Gordon and Christopher Azzara. Professor Richard Grunow is ducting New Horizons bands July she directed seminars on The revision of Jump Right In: chair of the Department of in Chautauqua, NY; Sydney, early childhood music educa- The Instrumental Series – for Music Education.

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special emphasis on perform- ing, composing/arranging, and teaching, and is not specifically centered in the two usual aca- demic jazz tracks – perform- ance or composition. The stu- dent has freedom to create a program that suits his or her needs, interests, and career goals. It is modeled after other Eastman DMA programs, so an important component is research and writing seminars. These are commonly called 590s at Eastman. Typical jazz 590s under discussion for adoption include: The History and Significance of the Blues; The Music of Duke Ellington; Jazz Insights: The Saxophon- ists, the Swing Tradition, and The Jazz Performance Workshop honors unit performed in New York City at the 18th annual JVC Jazz Festival in June. American Popular Song; From left: Jia Xia, piano; Jose Encarnacion, tenor saxophone; Eli Asher, trumpet; Jon Hamar, bass; Ted Poor, drums. Bebop/Atlantic-Prestige Era; Blue Note Era/Modal Experi- JAZZ STUDIES & CONTEMPORARY MEDIA mentation; ECM Era/Bitches Brew and Beyond; and Rag- time’s Relationship to Jazz. A major hurdle for all doc- toral students is the Compre- BY RAY RICKER AND HAROLD DANKO Introducing the Jazz Doctor hensive Examination. At East- of Musical Arts Degree man, this is a two-day test Down Beat honors Tom Alexios, director of that consists of a written jazz at Eastman special projects at Down Beat. The Jazz Studies and Contem- examination in the fields of “We choose schools that porary Media Department is music history, literature, and n words and by action, consistently place well in our pleased to announce its new theory followed a few weeks Down Beat magazine, one student awards, but also con- Doctor of Musical Arts degree. later by an oral examination. of the country’s most sider the overall reputation Applications are being All students must pass this Irespected jazz publications, of their jazz programs and the accepted, with the first student test to satisfy major depart- is heaping praise on the jazz strength of their faculty. in the program expected to ment and Graduate Profes- program at the Eastman Eastman’s got it all. They’re begin study in September sional Committee require- School of Music. turning out some outstanding 2002. Each year the depart- ments that they have attained The magazine extended a students.” ment receives numerous broad competency as practi- special invitation to Eastman’s This year Down Beat also inquiries about doctoral work tioners of music. Jazz Performance Workshop named the Eastman Jazz in jazz studies, but until now Working with our colleagues honors unit to perform at the Ensemble, directed by Fred serious jazz students who in the music history and music 18th annual JVC Jazz Festival Sturm, the best collegiate-level wanted to work on a doctorate theory departments, it was held in New York City in June. jazz big band in the country. at Eastman had to “massage” decided that DMA-JCM stu- The ensemble, coached by This is the fourth time in six their program of study, dents will take the same test Harold Danko, consisted of Jose years and the second consecu- stretching requirements here as other DMA students. How- Encarnacion, saxophone; Eli tive year that Eastman’s pre- and there, to make it fit with ever, the written examination Asher, trumpet; Jia Xia, piano; mier jazz band has taken or their jazz interests. This new will be restructured to include Jon Hamar, bass; and Ted Poor, shared the top spot in the degree opens the door for bona jazz history, theory, and litera- drums. They performed a set magazine’s annual student fide jazz DMA work and places ture questions in addition to of original compositions in a music awards competition. Eastman at the forefront in non-jazz questions. Moreover, noon-hour outdoor concert at Also honored was Eastman this area. it will be designed in such a Bryant Park. graduate student Jamey Sim- The new DMA degree repre- way that jazz students will be “We’re very selective about mons as this year’s winner for sents high broad-based attain- on equal footing with non-jazz the schools we choose,” said best jazz arrangement. ments in the field of jazz, with TURN TO PAGE 37 ➧

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➧ FROM PAGE 36 even more well-balanced and pianists on November 26, and acted, directed, made props students. This approach is in vital. We’re excited about it. pianist/composer and Eastman (including mechanical eye- keeping with the Eastman alumna Ellen Rowe will per- balls), and recorded a CD of spirit and tradition of broad Upcoming fall highlights form with the New Jazz appropriate background competency. November 7: World-renowned Ensemble at Eastman Theatre noises, including barking dogs. We hope that within the bassist and Eastman alumnus November 30 at 8 p.m. ❧ Over the course of the semes- next few years the degree pro- Ron Carter and his group, in ter they followed an important gram will have 4 to 6 students the Chamber Jazz Series at Professor of Saxophone Ramon intellectual strand of 20th-cen- in residence. This coupled with Kilbourn Hall, 8 p.m. Ricker and Associate Professor tury thought and culture in a 12 to 15 master’s students and November 26 and 30: Marian Harold Danko are co-chairs of wide variety of artistic and 40 undergraduates will make McPartland will conduct an the Department of Jazz Studies intellectual forms. Students an already healthy department afternoon workshop for and Contemporary Media. read surrealist and existential- ist fiction in their historical contexts and studied paintings by Max Ernst and Salvador HUMANITIES Dali. The course required open-mindedness and a will- ingness to work hard, both of which are in abundant supply among our students here, as BY JONATHAN BALDO everyone knows. Many of our offerings last rnestine McHugh’s moving year emphasized the connec- ethnographic memoir of tions among diverse art forms. her time among the Joan Saab’s course on America EGurung people, Love in the twenties, The Decade and Honor in the Himalayas: that Roared, took students on Coming to Know Another Cul- a journey through the jazz age, ture,was published this spring a world of the new woman, the in the distinguished anthro- Harlem Renaissance, speak- pology series of the University easies, avant-garde art move- of Pennsylvania Press. Ernes- ments, and an emergent mass tine, who had lost her own consumer culture. The course mother at a young age, found covered novels, film, jazz, the another, Ama, in a steep theatre, and show tunes. Stu- mountainside village in the REINHILD STEINGRÖVER dents also sought out primary Himalayas. Ama invited her to Caroline Stutzman as a water-gun assassin, Renee Riegler as a “stock Beck- sources such as newspaper become the adopted daughter ett character,” and Dan Iannantuone as a sound-man in William Bolcom’s and magazine articles and of their household shortly after farce Theater of the Absurd. advertisements with the aim she arrived. Describing the of studying how politics and Gurungs’ strong sense of com- stunning, emotionally charged, ing the Absurd: Explorations culture influence each other. In munity and sense of kinship intellectually stimulating, and in Modern and Postmodern her course on The History of from within the network of aesthetically crafted fieldwork Literature,” an interdiscipli- Photography in America, relations in which she was memoir. This is a book I will nary smorgasbord comprising which covered developments embraced, Ernestine narrates, teach often, recommend to col- literature, philosophy, paint- in documentary as well as art in compelling and balanced leagues, and share with family ing, film, and theater. At the photography, students prose, the family’s experiences, and friends for its multifaceted end of the semester the class explored the collections of the losses, affections, acquisition of delights.” performed William Bolcom’s International Museum of knowledge, strong sense of For one semester, at least, score from 1969–70, The The- Photography at the George honor, and ways of maintain- our new assistant professor of ater of the Absurd, or: Some- Eastman House, including ing equanimity. It is addressed German, Reinhild Steingröver, thing Didn’t Happen and You the recent show on Vietnam. to non-specialists as well as redefined for the Eastman Don’t Know What it Wasn’t, Do The population of our depart- anthropologists in her field, School of Music the “three Bs.” You, Mr. Jones. Reinhild con- ment remained even last year and should be of interest to In her course these were Bern- tacted the composer for per- for the first time in a decade. In anyone who has sought to hard, Beckett, and Borges – mission and for performance the midst of teaching three new know another culture. Kirin with some Buñuel and Bolcom advice. The third performance courses in the spring semester, Narayan, an anthropologist at thrown in. This past spring in 30 years took place this past Joan Saab somehow found the the University of Wisconsin, Reinhild offered a lively and April in an Eastman class- time to give birth to a beautiful Madison, describes it as “a innovative course titled “Read- room. Students conducted, TURN TO PAGE 38 ➧

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➧ FROM PAGE 37 Jamal Senior Regents Profes- his richly deserved promotion currently plays baseball. It baby boy named Phineas, nick- sor in Fine Arts. (I guess aca- and wish him all the best. may seem that Texas is buying named “Finn.” A hearty con- demic titles are as large as Doug is the third member of up more than its fair share of gratulations to Joan and her everything else in that state. our department to move to our superstars. For the time husband, Steve Brauer. On the They fit on his new business Texas in the past decade. As I being, I’ll refrain from spin- flip side, Doug Dempster, our card only in very diminutive mentioned in an earlier col- ning a conspiracy theory, erstwhile resident philosopher type.) Doug has been an exem- umn, Ruth Gross and Aimée though Texas seems to breed as well as dean of academic plary and beloved teacher, col- Israel-Pelletier, formerly profes- those as well, as anyone knows affairs, has moved to Austin, league, and administrator over sors of German and French, who has visited the Dallas TX, to take on the responsibili- the years, and we will sorely respectively, at the Eastman book warehouse overlooking a ties of senior associate dean in miss him. I hope I have learned School, are teaching at the certain grassy knoll. ❧ the College of Fine Arts at the enough philosophy under his University of Texas at Arling- University of Texas at Austin, tutelage to cope with his loss. ton, only a few miles from the Jonathan Baldo is chair of the and Marie and Joseph D. At the same time, we applaud stadium where Alex Rodriguez Department of Humanities. IN TRIBUTE

Chamber Orchestra and the Mitchell Stern American Symphony, and was first violin of the American String Quartet. He performed as a soloist The Eastman community was Steinhardt, Charles Castle- with the Atlanta, Baltimore, saddened by the April death of man, David Cerone, Margaret Boston, Cleveland, and former Associate Professor of Randall, Felix Galimir, and Philadelphia symphony Violin Mitchell Stern from Karen Tuttle. orchestras among others. He complications after surgery for After winning the Leventritt also served on the faculties of a brain aneurysm. He was 45. Award in 1978, he went on to SUNY-Stony Brook, the Hartt Stern graduated from the Cur- perform with many of the School, the Manhattan School, tis Institute and studied at the country’s major orchestras Peabody Conservatory, the Juilliard School, Philadelphia including the Atlanta, Balti- Taos and Aspen schools of Musical Academy, and Cleve- more, Boston, Cleveland, and music, SUNY-Purchase, and land Institute of Music. His Philadelphia symphony the Philadelphia Musical teachers included Dorothy orchestras. He served as con- Academy. He taught at East- DeLay, Ivan Galamian, Arnold certmaster of the Orpheus man in 1997 and 1998. ❧ Mitchell Stern

Sigfred C. Matson (PhD ’47), Bruce Baird Butler (BM ’53), In memoriam February 2001 July 2001 Harry B. Peters (BM’36, MM’40), Suzanne Axworthy (MA ’48), P. Peter Sacco (MA ’54, PhD ’59), 1930s April 2001 May 2001 August 2000 Charles Clayman Hill (BM ’30), Harry M. Jacobs (BM ’38), Ronald Jesson (MA ’49), Robert L. Oppelt (DMA ’57), February 2001 June 2001 May 2001 March 2001 Eric Lewis (BM ’30), Loren B. Crawford Jr. (MM ’39), Byron B. McCulloh (BM ’49, William H. Keller (MA ’58), April 2001 November 2000 MM ’51), March 2001 October 2000 Phyllis Rosamond (Marble) Stone Sr. M. Ceciliana Nieters (BM ’49), (BM ’32), May 2001 1940s June 2001 1960s Robert W. Winslow (BM ’34, Charles A. Lutton (BM ’41), Betty Howard Waterbury Carolyn Parks (BM ’67), MA ’39), May 2001 November 2000 (BM ’49), April 2000 March 2001 Estelle Bennett (BM ’35), Dorothy Duerson Horn (MA ’42, May 2000 PhD ’53), February 2001 1950s 1980s David Arthur Berger (BM ’35, Virginia Wood (BM ’45, MA ’46), Roger C. Hannahs (MA ’50), Ruth Ann Wiley Epstein (BM ’80), MM ’39), March 2001 June 2001 December 2000 February 2001 Donald W. Allton (BM ’36, Rosalie Allison White (BM ’46, Earl Wilson Compton (MM ’52, Peter Kenneth Zaparinuk MA ’38), July 2001 MA ’47), July 2001 DMA ’74), April 2001 (MM ’89), October 2000

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The following news is based brated his 85th birthday in from the National Flute Asso- of Music at Texas Tech Univer- on information received from May. Binkerd is known espe- ciation. The Longy School con- sity School of Music and com- January 1–July 31, 2001. cially for his choral and vocal cert, which celebrated his con- poser, received her 22nd con- News received after July 31 music; the Choral Journal re- tinuing career as a performer secutive ASCAP award last will appear in the next issue of marked of his cycle To Electra, and pedagogue, featured a June. Her composition Rhap- Eastman Notes. “Because of Binkerd’s extraor- newly commissioned work by sody had its world premiere by dinary ear for vocal color, the flutist/composer John Heiss. Charles Rex, solo violin, and effect of these pieces far tran- the Reading Symphony scends any possible verbal Harpist Emily Oppenheimer Orchestra (PA) in November description of them, and they (BM ’43) participated in “Make 2000. One of her most recently 1930s must be regarded as among a Joyful Noise,” a community commissioned works is Fan- the most significant works of concert at Temple Israel in fare and Postlude,written for Albany Records recently the twentieth century.” Westport, CT, which benefited the inauguration of President issued a CD of vocal music by the Interfaith Housing Associ- David Schmidley at Texas composer Gardner Read (MM Conductor A. Clyde Roller ation’s Facilities Renovation Tech University last January. ’37). It was recorded by D’Anna (BM ’41), an Eastman profes- and Refurbishing Campaign. Fortunato, mezzo-soprano, and sor of ensembles from 1961–65 In April, Oppenheimer played Robert W. Thayer (BM ’49), a John McDonald, pianist. and a former director of the in “I Hear Music!” another music educator and French Read’s compositions also were Eastman Wind Ensemble, benefit concert, for Habitat for hornist, has been named included on a Gasparo Records recently was honored by the Humanity of Greater Bridge- interim dean of the school of issue in November. University of Houston’s port and the Pollitt Fund of music at DePauw University, Moores School of Music by the First Presbyterian Church Greencastle, IN. Last March, an all-Reed pro- having an annual award of Fairfield, CT. gram was performed in the named for him. The A. Clyde Cincinnati area, including H. Roller Orchestra Award will be Retired flutist Glennis Stout Owen Reed’s (PhD ’39) early presented to an outstanding (BM ’45) continues to tour with orchestral works Symphony member of the University her lecture/recital titled The 1950s No. 1, Overture 1940, and La Orchestra each year. Flute: From Baroque to Boehm. Fiesta Mexicana. The lecture includes her collec- Composer and percussionist E. Earnest Harrison (BM ’42, tion of 30 antique flutes and Stanley Leonard (BM ’54) has Pulitzer Prize-winning com- MM ’46), professor emeritus of focuses on educating flutists on had several works for percus- poser Robert Ward (BM ’39) has oboe at Louisiana State Uni- the history of the flute from c. sion and solo timpani pub- had two works premiered this versity School of Music, was 1750 to the present. lished and released by Ludwig past year. Cherish Your Land honored with an Oboe Her- Music, Drop6 Media, and Stu- marked the inauguration of itage Weekend last April. The Nazareth College in Rochester, dio 4 Percussion. The works the North Carolina Museum of Earnest Harrison Scholarship NY, presented the first Ray- include Antiphonies, Ex Natural Sciences in Raleigh, of Excellence for Oboe and mond Shiner Jazz Award this Machina, Skies, Winged Char- NC. Bayou Rhapsody, commis- Chamber Winds has also been summer. The award was estab- iot, Winter Fantasy, and Good sioned by Pastiche, was per- established in his honor. lished in memory of Raymond Christian Men Rejoice. formed on tour at the Univer- Shiner (BM ’46) and, in the sities of Indiana, Illinois, and Flutist and teacher Robert future, will be given to tal- Composer George Walker Louisville, and McNeese State Willoughby (BM ’42) was recog- ented individuals to further (DMA ’56) has recently pre- University. nized in June with an 80th private jazz studies. miered several works with birthday gala concert at the such orchestras as the Chicago Longy School of Music in Cam- Walter F. Moeck (BM ’47) was Symphony, the Detroit Sym- bridge, MA. After graduating recently featured in an article phony, and the North Texas from Eastman, Willoughby by the Sun City Daily News- Wind Ensemble. His CD 1940s served briefly in the U.S. Air Sun (AZ). Moeck was named Lilacs, released last fall by Force before beginning a musi- “Outstanding Man of the 21st Summit Records, was named The Chilkat Center for the cal career that has included Century” by the American Bio- one of the 10 best recordings of Arts in Haines, AL, hosted a positions in the Cleveland graphical Institute and also 2000 by the Denver Post. performance of the Brahms Orchestra and Cincinnati was profiled in the 2000 edi- Recently, an extensive inter- horn trio by hornist Louis O. Symphony, and professorships tions of Who’s Who in Entertain- view about his career Nelson (BM ’40), violinist at the Oberlin Conservatory of ment, Classical Music in Amer- appeared in The Musical Linda Rosentahl, and pianist Music (40 years), Peabody ica, and International Music. Quarterly, and in May he was Nancy Nash, in April ’98. Conservatory, and at the given an Honorary Doctor of Longy School of Music. In addi- Mary Jeanne van Appledorn Fine Arts degree from Spel- American composer Gordon tion, he is a recipient of the (BM ’48, MM ’50, PhD ’66), man College in Atlanta, GA. Ware Binkerd (MA ’41) cele- Lifetime Achievement Award Paul Whitfield Horn Professor TURN TO PAGE 40 ➧

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➧ FROM PAGE 39 with the American Flute The Charlotte Symphony (NC) the chairman of the German Vincent Frohne (MM ’59, PhD Orchestra. She and her hus- appointed Frederick Boyd Opera Intendant’s Conference. ’63) was one of seven Rome band, Smith Toulson, are col- (BM ’69, MA ’71) as orchestra Prize-winning American com- laborators in a newly completed personnel manager. He had Reed College (OR) has posers featured on WFMT work for flute, clarinet, and served the Syracuse Sym- appointed Ellen K. Stauder radio (Chicago) in May. piano by Libby Larsen. phony Orchestra as bass trom- (BM ’73) as the acting dean of Frohne’s Emergence,Op.44 for bonist since 1970, and as per- faculty for the 2001–02 aca- piano and vibraphone, com- Janice Musgrove Thomas (BM ’63) sonnel manager. He continues demic year. From 1989–93, she missioned by the Merit Music was recently appointed to the to play in the Chautauqua served as associate provost at School in Chicago, was heard board of the Nanaimo Conser- Symphony Orchestra and the college and currently is in the broadcast. vatory of Music (BC, Canada). teach in the Chautauqua professor of English and School of Music during his humanities. Stauder special- After 40 years of service to the John Buccheri (MM ’65, summers. izes in modern poetry, Victo- Kalamazoo Symphony Orches- PhD ’76) was the winner of the rian literature, prosody, and tra, Harrison G. Orr (MM ’59) first Gail Boyd de Stwolinski literature and the arts. retired as principal clarinetist, Prize for Lifetime Achieve- and enjoyed a ceremony at his ment in Music Theory Peda- Baritone Jason Stearns (BM ’74) final subscription concert. He gogy and Scholarship last 1970s sang numerous roles in the will continue as staff arranger November. He is also the 2000–2001 season: Scarpia in for the orchestra. newly appointed president of Composer Frederick Koch DiCapo Opera’s Tosca in New the University of Oklahoma’s (DMA ’70) recently released a York City, Sharpless in Missis- Last April, Donald L. Panhorst College Music Society. new CD titled Contrasts, fea- sippi Opera’s Madama Butter- (MM ’59, DMA ’68), professor turing the Cleveland Orchestra fly,Peter in Washington, D.C.’s emeritus at Edinboro Univer- Western Oregon University String Quartet. Koch’s Con- Capital City Opera production sity of Pennsylvania, attended Emeritus Music Professor certino for Piano and Chamber of Hansel and Gretel, Billy Big- the China International A. Laurence Lyon (PhD ’65) Orchestra had its orchestral alow in Peoria, Illinois Opera’s Ceramics Exposition in Zibo, received a commission to com- premiere in the spring by the Carousel, Enrico in the Ft. Shandong, China. The exposi- pose a major sacred oratorio Cleveland Heights Chamber Lauderdale Gold Coast Opera’s tion included numerous artis- for the Ricks College (ID) Symphony with Coren Estrin Lucia di Lammermoor,Mon- tic and cultural events, and Sacred Music Series. The work Kleve as piano soloist. His tano and Iago in Cleveland focused on the history of the will be presented by the Ricks String Quartet No. 2 with voice Opera’s Otello, the title role in ceramic industry in Zibo. College choirs and symphony on a Sandburg poem, “Wind Verdi’s Macbeth with the orchestra in April 2003. Song” had its New York pre- Boston ProMusica and Concert miere at the Kosciuszko Foun- Opera, and twice with the A 10-CD boxed set of the com- dation under the auspices of National Symphony Orchestra, plete piano sonatas of Ludwig Downtown Music Productions. in Kurt Weill’s The 7 Deadly 1960s van Beethoven recently was Sins, and with conductor Emil released by Robert Silverman The summer 2001 issue of the Le Cou in an all-Mozart pro- New York Philharmonic (MM ’65, DMA ’70). Silverman Journal of the National Associ- gram. Stearns’ successful year English hornist Tom Stacy is the first Canadian pianist in ation of College Wind and Per- was further highlighted by an (BM ’60) was featured on almost 25 years to record all cussion Instructors featured an invitation to join the Metropoli- CNN.com in the seventh of a 32 sonatas. article co-authored by Geary tan Opera Chorus. 10-part series on the working Larrick (MM ’70), titled “Music lives of musicians who play Soprano Joyce Castle (MM ’66) as Therapy: A Bibliography.” In June, John B. Larrere (MA ’75) in the philharmonic. performed the role of Augusta Larrick wrapped up 50 years was appointed general man- Tabor in The Ballad of Baby of playing marimba last year ager of the Boston office of Hay Philip J. Swanson (BM ’62, Doe at the New York City by performing solo works at Group, a global human MM ’64) retired in June 2000 Opera in April. St. Paul’s United Methodist resources and organizational after an active career as a pro- Church in Stevens Point, WI. behavior consulting firm. fessional flutist, and as a uni- After teaching viola da gamba versity professor and adminis- and baroque cello at Oberlin Composer Samuel Sanders (’70) Last September, Andrew trator. Swanson and his wife Conservatory since 1977, recently released his new CD Peruzzini (BM ’76) was now reside in Oro Valley, AZ. Catharina Meints (BM ’66) has Music from Y2K. appointed director of instru- been appointed to the school’s mental music at the Buffalo Diane Gold Toulson (BM ’62) spent modern cello faculty. She con- Peter Jonas (’73, ’74) has Academy of Visual and Per- her summer playing in the flute tinues to play cello in the extended his contract with the forming Arts (NY). section of the Penns Woods Fes- Cleveland Orchestra and will Bavarian State Opera and will tival Orchestra at Penn State celebrate her 30th season with remain their Staatsintendant Janet Emery (BM ’77), executive University, and touring Spain the orchestra next year. until August 2006. He also is director of the Community Col-

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lege of Allegheny County (PA), of the United States Air Force was honored by the Allegheny Band of Mid-America. The County Medical Society band performed a concert in Alliance with its Avanti Award Carthage. last February.The award hon- ors an individual who advances Soprano Susan Whitenack the ideals of community service (MM ’80) was a winner in the for medicine and public health, finals of the New York Singing fundraising for medical educa- Teachers Association Competi- tion, research and benevolence, tion for Vocal Gymnastics last and camaraderie among med- December. ical families. Greg Danner (MA ’81) received James Higdon (DMA ’77) was the vocal category award and inaugurated in April as the grand prize for his composition Dane and Polly Bales Profes- Time, for soprano, clarinet, sor in organ – a new professor- and piano, in the 2001 Delius ship established with the cou- Composition Competition. ple’s gift to the Kansas Univer- Danner is a professor of theory From left to right, Bernard Rands, Jackie Leclair and Richard Killmer sity Association. In addition, and composition at Tennessee following the world premiere of Memo 8 in Carnegie Hall. Higdon was a 1997 recipient of Technological University. a William T. Kemper Fellow- Oboe students arrange for a ship for Teaching Excellence, Dan Locklair (DMA ’81) has had an award given to outstanding world premieres of many momentous ‘Memo’ for Killmer KU instructors. choral works this year. A DuBose Heyward Triptych ast year, a consortium of at Carnegie Hall’s Weill New York Philharmonic flutist was performed at the 2001 Pic- 93 former and current Recital Hall in December. Mindy Kaufman (BM ’78) was colo Spoleto USA by the Car- L students from Professor The “group premiere” per- featured on CNN.com in the olina Chamber Chorale; Free- Richard Killmer’s studio formance date for the 93 first of a 10-part series on the dom was commissioned and commissioned Bernard commissioning oboists was working lives of musicians toured by the New York City Rands to write Memo 8,a in April, and resulted in who play in the philharmonic. Gay Men’s Chorus; and Te work for oboe alone, in trib- several separate perform- Deum laudamus was spon- ute to their teacher. ances. Killmer plans to Barbara Berman Wray (’78–’81) is sored by the St. Paul’s Cham- Jacqueline Leclair record Memo 8 this fall. now a special education ber Music Society and per- (BM ’88) coordinated the “Memo 8 is the latest in teacher working with students formed by St. Paul’s Choir in commission of this solo oboe Bernard Rands’ series of with multiple handicaps. She Houston (TX). piece between April and solo works under the title resides in Newfields, NH. December 2000. She corre- ‘Memo’,” according to the Composer Margi Griebling-Haigh sponded with oboists who program notes, “each of Brian Stotz (BM ’79) has earned (BM ’82) was appointed to the studied with Killmer over a which seeks to explore con- the permanent position of sec- faculty of the Cleveland Insti- span of 18 years. Leclair temporary virtuosity and ond percussionist of the tute of Music this year. She has said she heard from just its attendant expressivity.” Rochester Philharmonic served as chairman of the over 100 current and for- Rands is a Pulitzer Prize- Orchestra, after having served Cleveland Composers Guild for mer students of Killmer’s winning composer and cur- the orchestra for 23 years as four years, and currently is the Eastman studio. “The rently the Walter Bigelow part-time fourth percussionist. president of the Bascom Little warmth and enthusiasm Professor of Music at Har- Stotz continues to operate Fund Board of Advisers, which about Mr. Killmer that I vard University. Repaircussions, a percussion funds a unique radio show on heard over the nine months “Memo 8, published by instrument service business. WCLV-FM 95.5 called “Not the – email by email, and phone Helicon Music Corporation, Dead White Male Composers call by phone call – from includes a dedication to Mr. Hour.” Among Griebling- that group of oboists was Killmer and lists the 93 Haigh’s recent commissions is amazing, really overwhelm- commissioning oboists,” Bocadillos Floridianos, written ing. It’s safe to say that Mr. said Leclair. “In this way, 1980s for John Mack, principal oboist Killmer is a very well-loved the piece will be a tribute to of the Cleveland Orchestra. teacher!” Mr. Killmer from his East- In an April edition, The Griebling-Haigh continues to Killmer and Rands man alumni that musicians Carthage (MO) Press profiled perform both on oboe and Eng- attended the world pre- all over the world will see A. Phillip Waite Jr. (BM ’80), who lish horn. miere of Memo 8 by Leclair for many years to come.” ❧ is commander and conductor TURN TO PAGE 42 ➧

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➧ FROM PAGE 41 Conductor Brenda Lynne Leach (MM ’83, DMA ’88) completed a tour of Eastern Europe where she guest conducted the Pleven Philharmonic Orches- tra (Bulgaria), the Pskov Sym- phony and Kaliningrad Phil- harmonic Chamber Orchestras (Russia), and the Shumen Philharmonic Orchestra at the Madara Music Festival (Bulgaria). In addition, she performed organ concerts at the St. Petersburg State Capella Concert Hall and Sochi International Organ Festival (Russia).

Eastman alumni joined former teacher Frederick Fennell in Oklahoma City. Front row (left to right): John TR: A “Bully” Portrait,a com- McLaughlin (BM ’48), Stanley Green (BM ’49, MAS ’50), Fennell, Sandy Flesher (BM ’60, MM ’66), George missioned work by composer Seltzer (BM ’48, MM ’49, DMA ’56), Ray Luke (PhD ’60). Back row (left to right): David Ward (MM ’60, DMA ’66), Bruce C. Roter (BM ’84), was Apgar, Joan Templar Smith (MM ’52, PhD ’76), Jerry Smith (PhD ’63). premiered in March by the Albany Symphony Orchestra (NY) under the direction of Alumni join Fennell for mini-reunions David Alan Miller. The piece is rederick Fennell for narrator and orchestra, (BA ’37, MS ’39), distin- and is based on texts by F guished former faculty Theodore Roosevelt. This piece member and founder of the was the composer’s second Eastman Wind Ensemble, commission in two years, fol- visited Oklahoma City last lowing Spiritscapes, written March to conduct the Okla- for the National Endowment homa Youth Orchestra. On for the Arts. Spiritscapes was the evening of the concert, premiered in Sioux Falls, SD, Horace V. Apgar (BM ’49) as part of national millennium arranged a get-together for celebrations. several Eastman alumni who worked with Fennell in Louise Shackelton (MM ’84) the ’40s and ’50s. joined the violin section of the Also, as part of the Eastman alumni gathered on the stage of Coolidge Auditorium at the London Symphony Orchestra Library of Congress Con- Library of Congress. In the front row are Fennell, Sandra Flesher, Phillip in May. She also plays in the cert Series in Washington, Kolker, Rosemary Crawford Fetter, and David Fetter. Behind Fennell City of Birmingham Sym- D.C.,Fennell conducted a is Elizabeth Twaddell Ferrell, and behind Kolker and Rosemary Fetter is phony Orchestra as co-princi- wind band concert of Ameri- Carl (Jeff) Bianchi. pal second violin. can music. Five of the participating Albert Merz (BM ’64), Donald appearance by more EWE Trumpeter Donald Sipe musicians in the May con- King (BM ’64, MM ’65), and members from the Fennell (BM ’84, MM ’85) and his wife, cert had played in the EWE Christopher Tranchitella years: Elizabeth Twaddell Jennifer, announce the birth of under Fennell’s direction: (MM ’82), as well as Sandy Ferrell (BM ’56), David Fet- their daughter, Emmeline Phillip Kolker (MM ’67), Flesher and Jerry Neil Smith ter (BM ’60), Keith Kummer Rose, in August 2000. Sipe is Carl (Jeff) Bianchi (BM ’64), (PhD ’63), who flew from (BM ’54), Albert Regni (BM the president of Omicron Ronald Barnett (BM ’60), Oklahoma City for the event. ’58), and Robert Silberstein Artist Management, Inc. Robert Sheldon (BM ’60), As a gesture to honor the (BM ’53). Sheldon, a Library and Thomas Miller (BM ’53, maestro, the organizers aug- of Congress staff member, Composer Jeff Beal (BM ’85) MM ’54). mented the ensemble for was an organizer for this was commissioned to write the Other former EWE mem- Fennell’s three closing Sousa impressive collaboration of film score to the recently bers in the wind band were marches with a surprise 16 alumni. ❧ released film Pollock. Beal pre- viously has won 11 student

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awards from Down Beat maga- Pianist Maria Eugenia Tapia CDs, the most recent of which, May on PBS. The series was zine for trumpet, composition, (BM ’87) recently released a 1985,was released in Decem- scored by Academy-recognized and arrangement. He cur- CD on Genesis Records featur- ber 2000 on Capstone Records. composer Leonard Lionnet rently resides in southern Cal- ing music of Emil von Sauer. (BM ’91), who received acclaim ifornia where he writes orches- for the score on a national tral and film scores, performs Last January, pianist Julie press tour in January. Lionnet on trumpet and piano, and Cheek (DMA ’88) appeared on is scheduled to score Arab and records jazz. the TV show Breakfast with the 1990s Jew: Wounded Sprits in a Arts on the A&E network. She Promised Land, another PBS Antonio J. Garcia (MA ’85) has played works of Franz Liszt. Tenor George DeMott (BM ’90) series, and Elie Wiesel: First accepted the post of director of performed at Penfield (NY) Person Singular with Elie jazz studies at Virginia Com- Jackie Leclair (BM ’88) was a High School last December to Wiesel and Lives and Legacies monwealth University in Rich- soloist on Maurizio Pollini’s benefit the Robert DeMott pictures. Currently, he com- mond. He currently is the edi- Carnegie Hall “Perspectives” Memorial Vocal Scholarship. poses for the National Geo- tor of the International Associ- concert series last March at the graphic/CNBC series Out ation of Jazz Educators Jazz 92nd Street Y in New York City. In June, the Cathedral Choir There, produced by Noel Dock- Educators Journal, co-editor of the Basilica of Saint Mary stader. Lionnet also collabo- and contributing author of Pianist Jeffery Watson (MM ’88) (Minneapolis, MN) premiered rated with director Robert Gel- Teaching Jazz: A Course of was a featured soloist in a per- You Must Pray for the City by ber on Oscar-winning Erosion, Study, and a member of the formance of Astor Piazzolla’s Chris Gennaula (BM ’90). Gen- an experimental short film board of The Midwest Clinic. operita Maria de Buenos Aires naula’s choral anthem was consisting exclusively of visual held last spring in New York’s inspired in part by the Jere- images and music. J. William Greene (MM ’85, Lisner Auditorium. The con- miah Program, a collaborative DMA ’85) is the recipient of cert was part of a symposium community initiative that pro- Associate Conductor of the the 2000 Palestrina Award. He on Piazzolla’s compositions vides housing and support for Phoenix Symphony Robert currently serves as organist- held at the City University of single mothers completing Moody (MM ’91) appeared as choirmaster at Holy Trinity New York. their education. guest conductor of the Min- Lutheran Church in Lynch- nesota Orchestra, Buffalo Phil- burg, VA. Young-Yul Kim (DMA ’89) cur- The New York City Opera harmonic, Indianapolis Sym- rently is associate professor recently cast Nancy Allen Lundy phony, and Greenville (SC) Flutist Christine Gustafson of music at Seoul National (MM ’90) as Poppea in Handel’s Symphony last year. (MA ’85) won a professional University College of Music, Agrippina, to be performed in Fulbright Scholar award for Korea. the upcoming season. Byung Hyun Rhee (BM ’91) was the year 2001–2002 to perform appointed associate conductor selected music of contempo- Pianist Thomas Lanners Pianist Anthony Padilla (MM of the Nashville Symphony rary American composers in (MM ’89, DMA ’91) presented ’90) was named the top prize- Orchestra in May. Taiwan and mainland China. a lecture-recital at the MTNA winner of the 2000 Concert Gustafson also plans to work national convention last Artists Guild International Composer Ye Xiaogang (MM with Taiwanese and Chinese March. He also performed solo Competition. In December he ’91) was recently profiled in an composers, and bring reper- recitals at the Lawrence Con- gave a New York City recital article in New York Times.com tory back to the United States servatory of Music (WI) and debut at Merkin Concert Hall. about prominent Chinese com- to perform and teach it to the University of Northern Padilla also was the recipient posers. He currently teaches at American flutists. Iowa as well as other universi- of the prestigious Beethoven the Central Conservatory ties in the Midwest. In June, Fellowship by the American (China) and is kept busy with Conductor Heather Buchman Lanners was granted tenure Pianists Association last fall. commissions from film studios, (BM, PC ’87) recently com- and promoted to the rank of orchestras, and government pleted professional studies in associate professor at Okla- Pianist and music educator bodies such as the Shenzhen conducting at the Juilliard homa State University. Margaret Lai (BM ’91) recently Propaganda Bureau and the School, and has been was awarded the MTNA Beijing Culture Bureau. appointed assistant professor Clarinetist Michael Lowenstern Teacher’s Enrichment Grant at Hamilton College and con- (BM ’89) finished his first sea- 2001, and was listed in Who’s The Hardin-Simmons Univer- ductor of the Hamilton College son as bass clarinetist with the Who in American Women Mil- sity School of Music in Abilene, Orchestra in Clinton, NY. New Jersey Symphony this lennium. She also was musical TX, appointed Peter Isaacson year. Lowenstern serves on the director of Fatima at St. (BM ’92) to the faculty for the The Toledo (OH) Symphony clarinet faculty at the Juilliard Thomas Seminary (CT). fall term. He now serves as Orchestra has appointed Amy School, and is the head com- instructor of violin and orches- Chang Simon (BM ’87, MM ’90) poser for Grey Advertising’s e- Islam: Empire of Faith,a tra conductor. Isaacson also is to the position of associate marketing division. He has three-hour epic series on the currently a candidate for the principal cello. released two solo bass clarinet history of Islam, aired last TURN TO PAGE 44 ➧

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➧ FROM PAGE 43 sition and jazz studies at New Lebanon (PA) was given to States Marine Band. Chides- doctor of musical arts degree York University in 1998, and Samuel Buccigrossi (BM ’96) ter left his position as princi- at the University of Kentucky. began his fourth year on the last May. His tuba perform- pal horn in the Springfield music faculty at Minnesota ance earned him the cash Symphony (OH) to play in the Pianist Marilyn Nonken (BM ’92) State University-Moorhead award of $2,500 in the 31st elite band. recently released her solo CD this fall. annual competition. Bucci- American Spiritual on CRI grossi is now pursuing a mas- Patrick Long (DMA ’97) was records. The disc features A work by composer Kevin Puts ter’s degree at the University appointed assistant professor works written for her by Milton (BM ’94), commissioned for the of Maryland. of composition, theory and Babbitt, Michael Finnissy, Jeff Boston Pops by the Hanson music technology at Susque- Nichols and Jason Eckardt. Institute for American Music, Baritone Troy Cook (’96) per- hanna University (PA). Previ- Nonken’s recitals were named was premiered in June with formed in the opening recital ously, he was an instructor of “Best of 2000” in the year-end Keith Lockhart conducting. The of the 92nd Street Y’s third composition at Syracuse Uni- round-up by the Boston Globe. Cincinnati Symphony Orches- season in New York City. He versity. tra also will premiere a work sang compositions by com- In summer 2001, Randall Scar- by Puts on its 2001–2002 sea- poser Theodore Roethke Saxophonist David Pope lata (BM ’92) attended the son. The BMI Foundation, Inc. including Elegy and It Was (MM ’97) and his wife, Jen- Marlboro Festival, and also recently awarded the first Car- Beginning Winter. nifer, announce the April birth performed several concerts at los Surinach Fund Commission of their first son, Noah Joseph. the Associazione Festival De to him. Puts was awarded the Lee Koonce (MM ’96) left his Due Mondi in Spoleto, Italy. Prix de Rome in April from the post as director of community The BMI Foundation, Inc. Scarlata looks forward to pre- American Academy in Rome, relations at the Chicago Sym- announced in June that the senting the world premiere of a and has been named a Guggen- phony Orchestra last summer first Boudleaux Bryant Fund one-man opera by Thea Mus- heim Fellow for 2001–02. to become the executive direc- Commission was awarded to grave with Boston Musica Viva. tor of Chicago’s Sherwood Con- DJ Sparr (BM ’97). Sparr will The Knoxville Symphony servatory of Music. write a piece for the new music Principal Oboist of the Orchestra has appointed Mark chamber ensemble, eighth National Arts Centre Orches- C. Hanson (’95) as its new execu- Pianist Joel Schoenhals (MM blackbird, which will present tra (Ottawa) Charles Hamann tive director. He assumes this ’96, DMA ’98) has accepted a the premiere in Chicago in (BM ’93) was recently the fea- position after a two-year post tenure-track assistant profes- 2002. tured soloist with the chamber at the Rockford Symphony (IL). sor of piano position at East- orchestra Thirteen Strings in a ern Michigan University in In May, vocalist Lisa Tarantino concert at St. Andrew’s Church French horn player J.D. Shaw Ypsilanti. (BM ’97) presented an exhibi- in Ottawa. (MM ’95) was featured artist tion titled A Night of Fashion at the 33rd International Horn Allen Tinkham (BM ’96) has been Art at the Nan Miller Gallery Scott O’Neil (’93, ’94) was named Symposium at Western Michi- appointed music director of the in Rochester. She enjoys a assistant conductor of the gan University in Kalamazoo Chicago Youth Symphony modeling career in New York Utah Symphony last summer. (MI), the 2001 International Orchestras beginning with the City, and has been recognized He is the conductor of the Utah Trombone Association Conven- 2001–02 season. Tinkham also by the Fashion Institute of Symphony’s outreach concerts tion at Belmont University in served as apprentice conductor Technology for her pen-and- as well as conductor of occa- Nashville (TN), and at the of the Oregon Symphony for ink fashion sketches. sional pops, family, youth, and International Trumpet Guild two seasons. special-event concerts in Abra- Convention in Evansville (IN). Composer and jazz artist vanel Hall, Salt Lake City. Shaw has been touring exten- Harpist Courtney Bress (BM ’97) Damon Zick (BM ’97) recently sively with Boston Brass, and won the only open position in released his debut solo CD, Harpist Jung Kwak (PC ’94) has been actively recording on the Chicago Civic Orchestra The Outing, featuring 10 eclec- recently released her second the Loft, Lark, and Summit last year, in addition to finish- tic tracks of original jazz album, Jewels. Mark Gibson, record labels. ing her master’s degree at Roo- music. principal conductor of the sevelt University, Chicago. She Alabama Symphony Orches- Louise Vickerman (MM ’95), also successfully auditioned as Pianist Jonathan Coo (MM ’98) tra, remarked, “Jung is a com- principal harpist in the Utah a substitute/ extra harpist was featured in a concert pelling and exciting performer Symphony, was presented last with the Chicago Symphony, series to promote an exchange with an innate ability to November with the Ambas- and performed with the of artists between Korea and (draw) the audience into the sador Award for extraordinary orchestra at the Ravinia Festi- the Philippines, including per- music through the sheer pleas- service to the orchestra. val last August. formances at several halls in ure she takes in playing it.” the Philippines and a telecast. Second Prize in the Scholar- In April, French hornist Neil E. Michael Missiras (MM ’94) com- ship Competition by the Chidester (BM ’97) joined “The Master’s student Matt Curlee pleted a PhD in music compo- Keynotes of Music for Mt. President’s Own” United (BM ’98) recently played with

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the Jacksonville Symphony The Arkansas Symphony spring. After performing the Stripling (BM ’83) were featured Orchestra in the inaugural announced the appointment of role while seven months preg- in concerts at Singletary Cen- concert of its new pipe organ. Daniel Cline (BM ’99) as section nant, McDonald gave birth to ter for the Arts Recital Hall in He played the Saint-Saëns cellist and Arts Partner for the her daughter, Victoria Mae Lip- Lexington, KY, last March. The Symphony No. 3 in C minor, 2001–02 season. pitt. In August, she will return performances marked the 50th the Jongen Symphonie concer- to singing with the COC anniversary of the banning of tante, and several solo organ Katia Escalera (MM ’99) per- Orchestra in the Altamira jazz music from the University works. formed as Petrovna in the San Summer Opera Concerts. of Kentucky campus. Francisco Opera’s production of McDonald also will understudy The Rockford (IL) Symphony Rimsky-Korsakov’s The Tsar’s various roles for the 2001–2002 Margaret Quakenbush (DMA ’82) Orchestra appointed percus- Bride last fall. Escalera is a season: the Woman in Robert and Dean Ekberg (MM ’87) were sionist Scott Provancher member of the Opera Center’s Lepage’s production of Schoen- recipients of the 2001 RPO (BM ’98) as executive director, Adler Fellowship Program. berg’s Erwartung,Madama Musicians’ Awards for Out- effective July 2001. Previously, Cortese in Rossini’s Il Viaggio a standing Music Educators. The Provancher served as co- The Great Falls Symphony Rheims, and the soprano awards honor individuals who founder and general manager (MT) has named Amy Eyles (BM soloist in Verdi’s Requiem. contribute to school music pro- of the Innergroove Percussion ’99) principal flutist beginning grams in the Rochester area. Trio and as associate director with the 2001–02 season. Soprano Misty Ann Castleberry Quakenbush, president and of development for the Syra- Sturm (BM ’00) recently was executive director of the cuse Symphony Orchestra. Pianist Melody Fader (BM ’99) given a Special Judges’ Award Hochstein Music School, won has been accepted to the Juil- for Outstanding Performance the special award. She is an The University of Richmond liard School, where she is pur- of a Single Number for her active clarinet soloist, chamber (VA) recently awarded Jeffrey suing a master’s degree in performance of “Surabaya and orchestral musician, and a Riehl (DMA ’98) tenure and accompanying. Johnny” at the Lotte Lenya founding member of the promoted him to associate pro- Singing Competition, hosted at Antara Winds. Ekberg, vocal fessor of music and director of Eastman. instructor in the Gates Chili choral activities. Central School District since Jeongsoo Kim (DMA ’01) has 1970 and director of musical Robert Smith (MM ’98) gave a 2000s accepted a tenure track posi- theatre at Gates Chili High community outreach concert The Harold Hyam Wingate tion as assistant professor of School since 1982, received the at the New York Botanical Gar- Foundation awarded pianist piano at Northern Illinois Uni- choral music award. Currently, dens in May.The performance Silvia Fraser (BM ’00) a scholar- versity in DeKalb. he serves as an all-state adju- was featured on CBS Sunday ship to continue her position dicator for the New York State Morning with Charles Osgood. as the Goodhew Scott Junior Harpist Marguerite Lynn School Music Association and Fellow at the Royal College of Williams (BM ’01) appeared as is director of music at Gates Rhodes College in Memphis Music in London. The founda- guest artist last February in Presbyterian Church. has appointed Michael Sidney tion provides annual scholar- the University of Cincinnati Timpson (MA ’98) as assistant ships for original work and College-Conservatory of The Prism Brass Quintet, professor, with responsibilities advanced training. Music’s Main Stage Opera pro- including Sam Buccigrossi to head the music theory pro- duction of The Rape of Lucre- (BM ’96), Matthew Bickel gram and start curricula in Animato Project for the Per- tia by Benjamin Britten. ❧ (BM ’99), Steve Haase (BM ’99), music composition and music forming Arts, a chamber Erik Kofoed (BM ’99), and technology. Over the last year, ensemble of four people includ- Aaron Moats (BM ’00), pre- he has enjoyed frequent per- ing violinist Michael Klotz sented a recital at the Univer- formances of his compositions (BM ’00), debuted in Los Ange- Duos sity of Maryland’s Memorial around the world. Among oth- les this past May.The group is Chapel. ers, his Chasin’ Bill for Chi- based in Los Angeles, and is nese silk and bamboo ensem- dedicated to the performance of & Trios The Phoenix Symphony will ble was premiered by Music traditional chamber works with debut works by composers Gre- From China in New York City; an emphasis on the Romantic Emily Oppenheimer (BM ’43) was gory Mertl (PhD in progress), his Refracting Timbre for Chi- era. Klotz currently is pursuing joined by fellow alumni Patti Kevin Puts (BM ’94) and Stefan nese zheng was premiered in a master’s degree in violin and Monson (BM ’84), Todd Simmons Freund (MM ’99, DMA in Taipei, Taiwan; and his R I P viola at the Juilliard School. (BM ’96), and Christopher Hisey progress) in the 2001–2002 was selected for the CMS con- (BM ’96) in a chamber music season as part of its Beethoven ference compositions concert Canadian soprano Elizabeth concert presented by the West- Festival. The festival will in Manhattan, KS. Last McDonald (MM ’00) had her port School of Music (CT). include all nine symphonies December, Timpson put on a professional operatic debut as and the world premiere of full-length composition recital Elettra in Idomeneo with the Trumpeters Vince DiMartino these works written in tribute at the University of Kansas. Canadian Opera Company last (BM ’70, MM ’78) and Byron to Beethoven. ❧

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Composition Professor Emeri- Professor of Violin Charles sity Art Center, Shin-Chu; Peter Kurau, professor of horn, tus Samuel Adler was elected to Castleman gave a series of Providence University, Tai- was a featured soloist at the membership in the American classes and a recital at the chung; Taoyuan Cultural Cen- International Horn Festival Academy of Arts and Letters. Vienna Hochschule für Musik ter, Taoyuan; National Recital 2000 held at the Detmold The honor of election is consid- und darstellende Kunst last Hall, Taipai; Tunghai Univer- (Germany) Musikhochschule. ered the highest formal recog- March. He also gave a spring sity, Taichung; National Taipei nition of artistic merit in this recital with colleagues at East- Teachers College; and the A piece by Eastman Professor country. man for his 25th anniversary Affiliated Senior High School of Composition David Liptak at the School. Castleman was of National Taiwan Normal was played by Beijing Cellist Jean Barr, professor of piano prominently profiled in the University. Jing Li in the 16th annual Irv- and accompanying, was fea- Aug./Sept. 2001 issue of ing M. Klein International tured in Japan’s premiere clas- Strings magazine. The Winston-Salem Journal String Competition at San sical music magazine, Musica featured an article last Febru- Francisco State University. Nova, after she taught last Pianist Harold Danko, associate ary on music and Black His- The Allen R. Weiss Memorial summer at the Eastman professor of jazz studies and tory Month, focusing on the Prize was given to Li specifi- School of Music Summer Sem- contemporary media, released importance of increasing per- cally for “best performance of inar in Hamamatsu, Japan. a new recording with the formances of works by black the commissioned work by Barr was praised for her cre- Harold Danko Quartet last composers and bringing classi- David Liptak.” ative approach to song inter- spring titled Nightscapes. cal music to black youth. Asso- pretation as well as for her ciate Professor of Music Per- A. Joan Saab, assistant energetic and focused teaching Professor of Viola John Graham formance and Community professor of American studies, style. embarked on a tour of China Education Armenta Hummings presented a paper titled “Polit- and Taiwan last May. He gave said in an interview, “It is very ical Business and Intellectual Last March, Professor of Harp master classes, lectures, les- encouraging to see the number Ballyhoo: Thomas Hart Ben- Kathleen Bride gave a recital sons, and six solo recitals at of knowledgeable black artists ton and The Arts of Life in titled “A Tribute to Marcel the Shanghai Conservatory of who are willing to (enhance) America” at the Carnegie Mel- Grandjany Celebrating the Music; the Central Conserva- the visibility of our composers. lon conference “Beyond Good 110th Year of his Birth” at tory of Music, Beijing; They’ve become ambassadors. and Evil: 100 Years of Mass Wellesley College (MA). National Chiao Tung Univer- They are championing works.” Culture.” ❧ STUDENT NOTES

At a convention of the Ameri- also selected as a finalist in Organist Rico Contenti won sec- Music. Gorsline is from the can Choral Directors Associa- the Stotsenberg International ond prize at the Augustana studio of Ashley Putnam. tion in San Antonio, TX, DMA Competition (CA). Arts/Reuter Undergraduate student Dan Bara won the Organ Competition in Denver, Mark Houghton,a student of National Competition for In March, composer Bernard CO. He received $2,000 and a Peter Kurau, has been ap- Conductors. Rands invited Katie Buckley to solo recital opportunity in pointed principal horn of the be guest harpist of the Society Denver. Harrisburg (PA) Symphony. He Kristian Bezuidenhout, fortepi- of Composers 35th National also was given a full fellowship anist, recently released a Conference, held at Syracuse In May, the New York Youth at the Sarasota Music Festival. CD of Mozart sonatas subti- University. At the conference, Symphony premiered com- tled Sturm und Drang. The Buckley played Rands’ Con- poser Stefan Freund’s No Apolo- BBC Young Musician of the web site Classical Net certino for Oboe and Ensemble gies, earning a favorable Year and Eastman junior Guy reported that Bezuidenhout’s with the University of Iowa review in The New York Times. Johnston opened this summer’s playing is “full of dramatic Center for New Music ensem- Proms Festival in England as contrasts and, at times, even ble. She is a student of Kath- Mimi Furuya, cello student of soloist in Elgar’s hauntingly savage expressiveness.” The leen Bride. Alan Harris, won second prize beautiful Cello Concerto. The CD was produced by Eastman at the 41st International Sor- concert, with Leonard Slatkin Professor of Piano Rebecca Eastern Washington Univer- antin (TX) Young Artist Com- conducting the BBC Sym- Penneys. sity has given Lisa Campi (DMA petition held last November. phony Orchestra, was pre- in progress) a full-time tenure sented to a capacity crowd of DMA student Aaron Brock won track position as assistant pro- Last March, Jazmin Gorsline 6,000 at London’s Royal Albert first prize in the Appalachian fessor of piano. Campi studied was a finalist in the 2001 Lotte Hall and was broadcast live on Guitar Festival’s International with Rebecca Penneys while at Lenya Competition for Singers England’s Radio 3 and BBC2. Competition last April. He was Eastman. held at the Eastman School of In a pre-concert interview that

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STUDENT NOTES

ran in the British newspaper Earle Broan and Cornell com- The Guardian, reporter posers Diego Vega and Daria Stephen Moss said, “It’s hard Dobrochna Kwiatkoaska. not to admire the warmth and honesty of Johnston’s musical Doctoral students Jeff Choque, personality.” A MusicalAmerica Joe Rackers, and Dariusz .com review noted that John- Terefenko recently presented a ston’s performance “gave a recital at the First Universalist sense of creating something Church (Rochester) improvising new, with a beautifully under- fugues in the style of J.S. Bach. stated performance notable for The concert included a selection its quiet reflection.” Johnston in which audience members currently is a student in the proposed fugue subjects, the studio of Steven Doane. students discussed their plan for improvisation, and then per- Flutist Sophia Gibbs Kim was LOU OUZER formed a fugue on the spot. invited to play a series of con- Bassoonists abound certs last spring with the While Associate Professor of Bassoon John Hunt (BM ’72) was on Several Eastman students won American Russian Chamber sabbatical last spring, his teacher K. David Van Hoesen (BM ’50), East- the opportunity to perform Ensemble, touring New York man professor emeritus of bassoon, came back to teach. The bassoon with the Rochester Philhar- City, New Mexico, Florida, and studio thought it a good opportunity to assemble the three generations monic in its “Stars of Tomor- Washington, D.C. She also was for a photo. Row 1: Lynda Paul (seated), Van Hoesen, Eric Goldman, row” Casual Sunday Matinee selected for a Jack Frank Flute Hunt, Ann Walton (seated). Row 2 at left: Laura Hollander, Lynn Hile- concert this October. Winners Instructorship position in mann, Vanessa Reynolds. Row 2 at right: Rebecca Levy, Lisa Timm, of the RPO Concerto Competi- Eastman’s Community Educa- Jenny Mann. Row 3 at left: Nick Rogers, Amy Lange, Michael Kokus. tion are Justin Berrie, flute; Kris- tion Division. Row 3 at right: Ryan Van Liere, Asa Roach. Absent: Thaddeus Crutcher. tian Bezuidenhout, piano; Katie Buckley, harp; Hee-Jung Nam, Bassoonist Rebecca Levy, stu- piano; Elizabeth Priestly, saxo- dent of John Hunt, has been College in New York City received a scholarship and phone; and Hae-Jung Shin, awarded a three-year, full- along with competing schools gave a performance of Han- mezzo-soprano. Trumpeter and tuition fellowship to attend the Barnard College, and Cornell, del’s Concerto Op. 4 No. 4 with arranger Jamey Simmons of the Aspen Music Festival & School New York and Columbia uni- the Denver Musica Sacra jazz and contemporary media in Aspen, CO. versities. Harpist Megan Sesma Chamber Orchestra. department has arranged a represented Eastman. Over piece that will include bassist Pianist Sergio Monteiro, student the summer, Sesma attended The Classical Music Society of Ike Sturm, percussionist Brady of Nelita True, represented the Los Angeles Henry Oakmont (PA) presented vio- Miller, and pianist Steven (Red) Brazil and won first prize in Mancini Institute. linist Boris Zelichenok in a Wierenga. ❧ the Maria Campina Competi- recital at Berger Auditorium. tion in Portugal in May. As a Omri Shimron presented a lec- Zelichenok is an undergradu- CORRECTIONS result, he will be giving ture recital at the April meet- ate student of Zvi Zeitlin. recitals and performing with ing of the Northeast Chapter orchestras throughout Portu- of the College Music Society at The Eastman Trombone Choir led Due to a University database gal, and will give recitals in Bates College (ME). by John Marcellus won the error, alumna Betty Burnett Brazil. Monteiro gave a solo 2001 International Trombone (BM ’44) was mistakenly listed recital in Paris following the Violinist and DMA candidate Association Remington Trom- in the “In Memoriam” section of competition. Solomia Soroka, from the studio bone Choir Competition. After the Spring 2001 issue of East- of Charles Castleman, married a unanimous vote from the man Notes.We regret the error. Master’s student Thomas Arthur Green, chairman of the judges, the choir received free Rosenkranz presented a piano piano department at the Uni- tuition to attend the Interna- As part of a United States concert at Albright College versity of Michigan, in May. tional Trombone Festival in Department of State project to (PA) in January, which fea- The day after their wedding Nashville, TN in May. bring American arts and music tured contemporary music. they gave a “wedding recital” to Mongolia, Bernard Ruben- at the Memorial Art Gallery in Violinists David Wish and Caleb stein (BM ’58) conducted a ver- Keideans, the Senior Honor Rochester. Burhans, violist John Prickford sion of George Gershwin’s Society at the University of Richards, and cellist Susannah Porgy and Bess in Ulaanbaatar. Rochester, chose one member Organist Fred Teardo won first Kelly recently played a concert We regret the misspelling of from each discipline in the prize at the Augustana Arts/ at Cornell University spon- Mr. Rubenstein’s surname as University to speak at a spring Reuter Undergraduate Organ sored by the music depart- well as the name of the capital 2001 college fair at Barnard Competition in Denver, CO. He ment, performing works by city of Mongolia. ❧

F ALL 2001 47 2001002 Eastman Notes 11/9/01 1:01 AM Page 48

EASTMAN SCHOOL OF MUSIC - LEGEND #001961

In the fall of 1961, the Cold War was at sub-zero temperatures.

The Eastman Philharmonia, the first student orchestra ever invited by the Department of State to tour under President Kennedy’s Special International Program for Cultural Presentation, embarked on an incredible international good will mission: 50 concerts in 34 cities in 16 countries in 3 months.

They played in Europe. They performed in the Middle East. They shared their art behind the Iron Curtain. AND THEIR MUSIC WAS WILDLY, WARMLY RECEIVED.

The world was in turmoil, but in the concert halls, according to Director Howard Hanson, “all was beauty, peace, enthusiasm and friendship, packed audiences and cheering crowds… Everywhere, we met not only admiration for the artistry of our young people but also human warmth and the feeling of universal brotherhood.”

For nearly 80 years, the Eastman School of Music has been inspiring artistry, scholarship, leadership ... and international diplomacy. Support the Eastman Fund today and help keep the legends alive.

The Eastman School of Music T 1-866-345-2111 T 1-585-274-1048 T www.rochester.edu/Eastman/ T [email protected] 2001002 Eastman Notes 11/9/01 1:01 AM Page 49 2001002 Eastman Notes 11/9/01 1:01 AM Page 50

JOHN SMILLIE Alumni are invited to a four-day conference celebrating the Eastman Wind Ensemble’s 50th anniversary – PAGE 14

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