sonoritiesWINTER 2014 The News Magazine of the University of Illinois School of Music

Rediscovering Smith Hall from the dean

The School of Music has completed another great year. Through its innovative teaching, outstanding perfor- mance, exceptional scholarship, and extensive outreach, the School sustains its reputation as one of the best in the nation. Of note was the appointment of Dr. Jeffrey Magee as Published for alumni and friends of the the School’s permanent director following a national School of Music at the University of Illinois at Larry Kanfer Urbana-Champaign. search. An accomplished scholar and teacher, Magee received his PhD in Musicology from the University of Michigan in 1992. The School of Music is a unit of the College of He served on the adjunct faculty at Michigan for five years before joining Fine and Applied Arts at the University of Illinois the Jacobs School of Music at Indiana University in 1997. He came to the at Urbana-Champaign and has been an accredited institutional member of the National Association of Illinois School of Music faculty in 2006, and was appointed interim director Schools of Music since 1933. of the School in 2012. Magee is an expert in the study of American music. He has been pub- Jeffrey Magee, Professor and Director Joyce Griggs, Associate Director for lished widely in music journals and has written two books, including The Academic Affairs Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz (Oxford, 2005), David Allen, Associate Director for Development named “Best Book in American Music” by the Society for American Music. James Gortner, Assistant Director for Magee has a deep knowledge of the School’s remarkable history and Operations and Finance J. Michael Holmes, Enrollment potential. He is an articulate advocate for the School within the College, Management Director on campus, and beyond. His aspirations as a director are high, and I look Stephen Burian, Interim Director of forward to working with him on initiatives that will enrich the School’s Outreach and Public Engagement impressive record of achievement. I’m confident Magee will provide strong, Ruth Stoltzfus, Coordinator, Music Events effective leadership in the coming years. Managing Editor: Ruth Stoltzfus This leadership is important as the School helps the College of Fine and Associate Editor: Emily Wuchner Applied Arts shape a multi-year strategy. This endeavor aligns with the year- Research Assistant: Lauren Coleman Contributing Editors: Edward Rath, long, campus-wide strategic planning effort led by Chancellor Phyllis Wise, Charlotte Mattax Moersch which identifies new and emerging challenges and opportunities, along with ways in which the campus community can effectively and expertly Contributing Writers: Angela Myles Beeching, address them. Ultimately, we will chart a distinctive course for the College William Brooks, Michael Cameron, Liz Freivogel, John Grashel, Joyce Griggs, Ronald Hedlund, that integrates the performing, visual, design, and environmental arts even J. Michael Holmes, Barbara Hedlund, Hannah more deeply into the teaching, scholarship, creative work, and engagement Jellen, Linda Veleckis Nussbaum, Paul Redman, of this great university. Gunther Schuller, Ruth Stoltzfus, Brian Sullivan, Our work—today and in the future—is strengthened by the generosity Dorothy Williams, Emily Wuchner of our many alumni and friends who support student scholarships, fellow- Design and Layout: Studio 2D ships, endowed chairs, and other needs. Your dedication to the School of Music is deeply appreciated. Cover photo: Emily Wuchner

UI School of Music on the Internet: Edward Feser www.music.illinois.edu Professor and Dean, College of Fine + Applied Arts

Share your good news! Send photos and submissions to: Sonorities, UI School of Music 1114 W. Nevada, Urbana, IL 61801 or [email protected] by August 31, 2014 from the director

By now you may have realized that our cover features a Winter 2014 detail from the newly painted Smith Memorial Room— once the site of our music library and now a prized, intimate space for recitals and chamber music. The campus news image is apt. Our cover story on the renovation of Smith 2013 Allerton Music Barn Festival . . . . . 2 Memorial Hall provides a metaphor for the entire School Jupiter Quartet Selects First Student Guest Artist Winner...... 3 of Music: a venerable structure housing a great tradi- Spring 2014 Ensemble Performances . . . . 3 tion of excellence that now faces renovation in order DoCha Prepares for 2014 Season . . . . . 4 to continue thriving in the twenty-first century. The campus strategic plan, Inaugural Fall Convocation Encourages published in mid-August, poses an exciting challenge to the College of Fine Entrepreneurship ...... 5 and Applied Arts and the School of Music as the University of Illinois seeks The Thomas H . Schleis Memorial Fund. . .. 5 to be “the preeminent public research university with a land-grant mission The Champaign County Juvenile Detention Center Arts Project...... 6 and global impact.” Hobson Performs Brahms in NYC...... 6 That short phrase poses a tall order—and it inspires new thinking. We 2014 North American Saxophone launched the new academic year with a convocation featuring music entre- Alliance National Conference...... 7 preneurship guru Angela Myles Beeching, whose charge to “write it down” University Hosts Interdisciplinary asks us to commit to the distinctive thing each of us has to offer to the world. Science Fiction Conference...... 7 She asks us to think outside the box. That is, if you’re a violinist who loves Bob Stiehl Retires...... 8 Magee Hired as New School of orchestral playing and wants to play country music, she has three words: go Music Director...... 9 for it. Our faculty members are here to free you to be your musical selves, New Degree Option: B .A . in Music not to be carbon copies of themselves. Technology...... 9 We have realized something else: if we are to be the “preeminent public updates research university” we should look like one. Smith Hall is going on 100; the Development Update...... 10 Music Building is now more than 40 and looking its age. A major thrust this Smith Hall Reflection...... 10 year is to improve our facilities. For starters, the bells signaling the beginning OPE Update 2013 ...... 12 and ending of classes have been silenced. Our faculty and students need to Brief Musical Moments: A Reminder . . . . 13 work in an environment worthy of their excellence. With your support we Features will sustain that excellence as we move toward a brighter future. A ‘Triumvirate’ Birthday: Celebrating the Lives and Works of We invite you to be part of the School’s renovation, its future. Reading Verdi, Wagner, and Britten...... 14 this issue of Sonorities, you will see signs and birth pangs of it on every page. Benjamin Britten and the University of Illinois, January 1940...... 18 Jeffrey Magee Recognizing Life’s Rewards...... 19 Professor and Director, School of Music The Entrepreneurial Musician: YOU. . . . 22 School of Music Wish List...... 24 The Manion Papers...... 25 Rediscovering Smith Hall...... 27 faculty news...... 37 emeriti news...... 47 alumni news...... 48 student news...... 53 in memoriam...... 57 Giving...... 60 Partners in Tempo...... 60 Planned Giving...... 62

winter 2014 1 campus news

2013 Allerton Music Barn Festival Recap

The University of Illinois School of Music scheduled this year’s festival later than hosted the 7th annual Allerton Music Barn usual to beat the early September heat . Festival September 19-22, 2013 . This “The amazing talent, great and varied year’s program contained a wide variety repertoire, and mostly cooler tempera- of music, including chamber works, jazz tures made the Barn Festival an especially standards, and a musical, attracting large fine experience this year,” Magee said . crowds nightly . The festival is held each Opening night was titled “Jupiter Plus” year in the loft of a restored nineteenth- and featured the University’s resident century Dutch hay barn on the University’s Jupiter String Quartet with additional Allerton Park & Retreat Center in Mon- artists . The ensemble performed composer Nathan Mandel ticello, about 25 minutes southwest of and hornist Gunther Schuller’s Quintet for marked one of the first public appear- the University . Director of the School of Horn and Strings with Assistant Professor ances of a racially integrated ensemble . The Music Jeffrey Magee said that organizers Bernhard Scully . Schuller delivered the Concert Jazz Band played selections from Spring 2013 com- its new CD, which is devoted to music by mencement address modern jazz saxophonist Pepper Adams . and returned to Solo piano music filled the Barn Sat- campus to coach urday night as Professor William Heiles the quintet on his presented a program featuring works piece, which they by Bach and Schumann . The program recorded . The highlighted Bach’s role as a teacher and concert featured included his A Major English Suite, which pianist Wuna Meng, influenced subsequent composers . Heiles winner of the first also played some of Schumann’s poetic Jupiter Quartet works—Kinderszenen and Carnaval— guest artist award, showing the composer’s skills as musician playing the Franck and narrator . Piano Quintet . The festival closed on Sunday with the On Friday concert version of the musical Of Thee I evening the Concert Sing, with libretto by George S . Kaufman Jazz Band, directed and Morrie Ryskind (best known for their by Professor Joel Nathan Mandel Marx Brothers screenplays), and music by Spencer and joined George and Ira Gershwin . Oozing with by clarinetist Ken political satire, the libretto won the Pulitzer Peplowski, helped Prize in 1932, and follows the plight of a celebrate the 75th bachelor presidential candidate who uses anniversary of love as the platform for his campaign . The Benny Goodman’s performance bridged the Oregon Street Carnegie Hall divide by uniting faculty and student cast Concert . Goodman members from the Department of Theatre and his orchestra and School of Music . Alumnus Aaron made history on Kaplan (BM ’11, BME ’11, MM ’13) was January 16, 1938 the music director, and theatre professor by bringing jazz to JW Morrissette was stage director . Carnegie Hall in a —Emily Wuchner, Associate Editor

Nathan Mandel Horger Frank concert that also 2 sonorities Spring 2014 Ensemble Performances

Feb 7 UI Symphony Orchestra Feb 19 Illinois Modern Ensemble Feb 20 Wind Symphony Feb 26 Wind Orchestra Nathan Mandel Mar 2 UI Philharmonia Mar 6 UI Chamber Orchestra Jupiter Quartet Selects First Mar 6, 7, 8, 9 School Of Music Opera: Orpheus in the Student Guest Artist Winner Underworld Mar 11 Hindsley Symphonic Band and University The relationships within a string quartet are intense - both Concert Band wonderfully and awfully so . Occasionally, we string quartet Mar 15 UI Chorale musicians like to relinquish our grip on one another for a little Mar 16 Concerto Urbano while, and open up our collaboration to fellow musicians . This Mar 16 Illinois Brass Quintet: Spring Event provides us with some fresh musical perspective and much- Mar 18 Illinois Modern Ensemble valued connections to the larger music world . Mar 20 Wind Symphony, UI Symphony Orchestra [for It is with this in mind that my colleagues and I in the Jupiter North American Saxophone Alliance] String Quartet came up with the idea of creating an annual Mar . 21 Concert Jazz Band [for NASA] chamber music competition for students, called the Jupiter Apr 5 Women’s Glee Quartet Guest Artist Award . Each year, we will open the com- Apr 5 Black Chorus petition to a different division within the School of Music, and Apr 9 Wind Orchestra the winner will perform with us on one of our formal recitals . Apr 11 UI Symphony Orchestra We held the inaugural competition this spring for students in the piano division . The competition piece we chose was Apr 15 Steel Band Franck’s Piano Quintet in F minor, and we spent a fascinating Apr 17 Percussion Ensemble afternoon reading through parts of the work with the contestants . Apr 22 Hindsley Symphonic Band and University Not knowing what to expect, we were thrilled to discover that Concert Band every one of the competitors was at a level high enough to join Apr 22 Illinois Modern Ensemble us in a more formal setting . Apr 26 Varsity Men’s Glee Club We were pleased to designate pianist Wuna Meng as our Apr 26 Balkanalia first award winner, and we played the Franck quintet with her Apr 27 Wind Orchestra on our September 19th concert at Allerton Music Barn Festi- Apr 27 Trombone Choir val . Wuna impressed us all with the maturity and flexibility of Apr 29 UI Philharmonia her musical interpretation, as well as her clear mastery of the Apr 29, 30 Opera Studio technical fireworks Franck demands of the pianist . We had the Apr 29 Jazz Combo I pleasure of performing a preview of the last movement at the Apr 30 Campus Concert Band School of Music Convocation in August and were overjoyed Apr 30 Jazz Band II to find that her playing was every bit as sensitive and colorful Apr 30 Illini Strings as we had found it in the spring . A native of China, Wuna is a fourth-year doctoral student of May 1 Jazz Band IV Timothy Ehlen . She received the Artist Presentation Society and May 2 Concert Jazz Band Krannert Debut Artist Award in 2012, as well as the Charles May 3 Jazz Vocal Ensemble and Vocal Combos Ross Fellowship in 2010–11 . She gave her debut recital in May 3 Jazz Band III Wuhan’s China-Bell Music Hall and was a featured performer May 4 Jazz Saxophone And Guitar Ensemble at several music festivals, including Beijing’s Palatino Competi- May 4 Latin Jazz Band tion for New Music (broadcast on CNN), the Beijing Modern May 6 UI Symphony Orchestra/Oratorio Society Music Festival, Gilmore International Piano Festival, Atlantic May 6 Jazz Trombone Ensemble International Music Festival, and Banff Piano Master Classes . May 7 Wind Symphony —Liz Freivogel, violist in the Jupiter Quartet May 7 Jazz Combos II winter 2014 3 campus news

DoCha Prepares for 2014 Season

DoCha, Downtown Champaign’s chamber music festival, founded by University of Illinois School of Music professors, is under the artistic leadership of Professors Stefan Milenkovich, Dmitri Kouzov, and Gabriel Solis, with administrative support provided by Executive Director Paul Redman . DoCha is unique in its commitment to the idea that chamber music can and should be enjoyed by all people by its offering free performances and educational outreach activities that are fun-spirited, engaging, inclusive, informal, and collaborative . The 2014 DoCha festival will take place April 11–13 at the Orpheum Theatre in downtown Champaign . The festival schedule includes three evening perfor- School of Music faculty members Stefan Milenkovich (violin), Dmitri Kouzov (cello), and mances for adult audiences (college-age visiting artist Rami Vamos entertain children during a Young People’s Concert at the 2013 through senior citizens) and will feature DoCha Festival. unique collaborations among University of Illinois music professors, music students, followed by a hands-on activity where is a community celebration involving and local artists . students will learn to create their own the participation and collaboration of Educational youth programs are an music . Hundreds of children participated many people and organizations . We look essential component to DoCha’s mission in and enjoyed last year’s performance . forward to seeing you at our events . For of expanding public engagement in the DoCha has built a loyal and devoted fol- more information, visit www .DoCha .org . arts . In collaboration with its partner, the lowing of audiences of all ages . Beyond a —Paul Redman, Orpheum Children’s Science Museum, and traditional chamber music festival, DoCha DoCha Executive Director with financial support from the Frances P. Rohlen Visiting Artists Fund through the College of Fine and Applied Arts, DoCha will also present two Young People’s Con- certs during the Festival . Elementary-aged students and their families can experi- ence an interactive, fun, and educational musical program . Rami Vamos, a highly popular and respected creator of music education programs and curricula for school children and the resident teach- ing artist for youth programs at Lincoln Center in New York, will present a lively and engaging comedic play in conjunc- tion with faculty of the School of Music . Laurent Gasquet This musical play/performance will be Milenkovich and Kouzov perform during the 2013 DoCha festival.

4 sonorities Inaugural Fall Convocation Encourages Entrepreneurship

The School of Music hosted its inaugural Fall Convocation, themed “Artist-Scholars as Entrepreneurs,” on August 25, 2013 . The Convocation featured musical performances by faculty and students, speeches, and a keynote address by Angela Myles Beeching . During the Convocation, music students were encour- aged to create artistic opportunities that fit a unique niche and make a meaningful impact on society, even if it requires them to take risks and step outside of their comfort zones . School of Music Director Jeffrey Magee and several faculty members proposed the convocation as a welcome-back event connected to the broader goal of providing students with access to entrepreneurial concepts . A committee, comprised of Christina Bashford, Stephen Burian, Joyce Griggs, Julie Gunn, Michael Holmes, Jonathan Keeble, and Ann Yeung, planned the event and keynote speaker . The committee also brainstormed ways that the Convocation could kick off a new year-long series of guest speakers and activities centered on entrepreneurial themes . These opportunities will help students develop entrepreneurial skills and prepare them for the demands musicians face upon graduation . Stephen Burian The Convocation highlighted several students, alumni, and Nathan Gunn, Yvonne Redman, and Julie Gunn perform during faculty to show entrepreneurial endeavors already at work . the first annual School of Music Convocation. A few stories shared include that of Associate Professor Rick Taube who recently launched a new music theory learning app Island Ensemble in New York City . Blachly and the ensemble called Harmonia (available through Apple’s App Store), and present annual benefit concerts to support the activities of an alumnus James Blachly (MM, 2013) who founded the Sheep after-school program in New Orleans, the Lower Ninth Ward Youth Orchestra . The Convocation included perfor- mances by voice faculty, Nathan Gunn The Thomas H. Schleis Memorial Fund and Yvonne Redman, accompanied by Julie Gunn . Other musical performances In Fall 2013, the School of Music established a fund in honor included the Jupiter String Quartet and of Thomas Schleis, who taught in the Opera division for 30 Wuna Meng, and the Varsity Men’s Glee years . Through his extraordinary generosity and dedication, Club conducted by Barrington Coleman . he encouraged his students to focus and develop their skills We were also grateful to Dean Edward to the fullest, and he did so in a manner that expressed his Feser (FAA) and Michele Plante (FAA tremendous knowledge and love of opera . The fund will Career Services Coordinator) for attend- provide annual scholarships to graduate and undergraduate ing and greeting our faculty and students . voice students and vocal coaches in the study, practice, Attended by approximately 300 stu- and teaching of opera at the University of Illinois . Those interested in contrib- dents and faculty, the Convocation was uting to the fund should make their check payable to UIF/Thomas H . Schleis a success and ensures this will become Scholarship, with “Thomas H . Schleis Memorial Fund” written on the memo an annual event for the School of Music . line . Gifts should be sent to the following address: Please see the reprint of Angela Myles University of Illinois Foundation Beeching’s Convocation speech included 1305 W . Green St . in this issue . Urbana, IL 61801-2962 —Joyce Griggs, Associate Director, For additional information, please email us at OperaUIUC@illinois .edu or School of Music contact David Allen, School of Music Associate Director of Development at allend@illinois edu. .

winter 2014 5 campus news Hobson Performs Brahms in NYC

This fall, Professor Emeritus of Piano The Champaign County Juvenile Ian Hobson performed a series of 14 piano recitals in New York at the Detention Center Arts Project DiMenna Center for Classical Music . Entitled “Johannes Brahms: Classical Each Thursday evening a group of under- activities include drum circles, ukulele Inclinations in a Romantic Age,” graduate students leaves the University sing-alongs, using looping software, or the program consisted of the com- and goes to jail . They are not there to serve covers of popular songs played on class- poser’s complete solo and chamber time, but rather to make music, create art, room instruments . The goal is to make works . The recitals were held from and connect with youth incarcerated at music together, with each individual September to November and fea- the Champaign County Juvenile Detention contributing equally to its creation . tured University of Illinois faculty Center . The program, known as the CCJDC In addition to the artistic value of the members including David Harris Arts Project, is a service-learning course activities, the program provides a space (clarinet), Dmitry Kouzov (cello), taught by Jeananne Nichols, assistant to develop positive social bonds . Many Edward Rath (professor emeritus of professor of Music Education . JDC youth have struggled in school or piano), Bernhard Scully (horn), and The program grew from the volunteer may have difficulty with authority figures . Rochelle Sennet (piano) . efforts of Alex Moroz (BME ’12), who along Mindful of these issues, UI team members with Corinne Jones (BME ’12) and Jackie participate in the activities along with the Pendola (BME ’12) taught general music youth . Social bonds form in the learning sessions in the facility on a weekly basis . process and respect is earned on both Moroz asked that Nichols supervise their sides of the partnership . When an activity work and make sure it continued after they begins, the youth may appear guarded and graduated . Together the group secured a reserved, but as time passes they begin seed grant from Action Research Illinois to smile and open up . When it is time for and created the course to contribute to the them to go back to their cells they often College of Fine and Applied Arts service leave singing, beat-boxing, or dancing . learning initiative . School music and art programs are explored the experiences of the University Since Spring 2012, more than 25 usually electives that, for a variety of students engaged in the program . We undergraduates, primarily music and art reasons, are not chosen by youth con- presented the program and our research at education majors, have taken the class . sidered “at-risk ”. As a service-learning the 2012 CIC meeting, the 2013 Mountain From the start, Nichols has maintained a course, the JDC Arts Project seeks to Lake Colloquium, and the 2013 Society community-based ethos, drawing upon address this gap by introducing pre-ser- for Music Teacher Education conference . the talents of the course instructors, the vice music teachers to youth who tend Perhaps most importantly, participa- UI student team, the facility staff, and the to occupy the margins of school and tion in this project impacts the UI team youth themselves . “My hope is that the society . This experience has the potential members as they graduate and begin their JDC project can become a model program to challenge stereotypes and humanize teaching careers . Heather Kole (BME ’12), that would inspire anyone who wants to young people in the corrections system . who is currently teaching full-time in the do community oriented work that respects Marla Elmore, assistant superintendent Rockford area, said: “More than anything, the institutions they’re hoping to serve,” at the JDC, explains, the project “helps the JDC taught me that all students can Nichols said . the UIUC students to understand that our succeed, and to never doubt a student The average sentence for youth in the youth are just kids, troubled yes, but at based on their background . . . . They facility is between three and four weeks, heart just kids ”. always rose to the challenge that we gave so the project focuses on experiential arts The program has also become a fertile them, and this is something that I keep engagement rather than skill building . ground for educational research . Along in mind every single day ”. The UI team designs and facilitates two with Nichols, graduate students including new experiences each week . Musical myself and Jenna Weidenbenner have —Brian Sullivan (MME ’13)

6 sonorities 2014 North American Saxophone Alliance National Conference

The University of Illinois will host the 2014 North American Saxophone Alli- ance Biennial National Conference March 20–23, 2014 with co-hosts Debra Richt- meyer and J. Michael Holmes . The con- ference theme—“A Historical and Present classical saxophone legends Frederick the conference and a new NASA Night- Day Celebration of Saxophone Perfor- Hemke, Eugene Rousseau, and Donald cap Jazz Combo Series will begin after mance, Pedagogy, and Industry”—honors Sinta, and internationally renowned jazz each evening concert on Krannert’s Stage5 . the 200th birthday of Adolphe Sax and saxophone stars Branford Marsalis, Brad You can find out more information the 20th anniversary of the first biennial Leali, and Chip McNeill . Evening concerts about the 2014 North American Saxo- conference . Conference events include begin at 7 p .m . in Foellinger Great Hall in phone Alliance Conference at www. solo performances with the UI Wind Sym- the Krannert Center for the Performing Arts . NASAconference.com. phony, the UI Symphony Orchestra, and In addition to the conference activities, —J. Michael Holmes UI Concert Jazz Band, as well as numerous five different college and high-school classical and jazz chamber music concerts, Enrollment Management Director and classical and jazz saxophone competi- Clinical Assistant Professor of Music master classes, and lectures . Featured tions will take place before and during artists include internationally renowned

University Hosts Interdisciplinary Science Fiction Conference

The interdisciplinary conference “Writing The Jupiter Quartet and Timothy Ensemble, Illinois Wind Symphony, and Another Future: Science Fiction, the Arts Ehlen recreated a fictional concert a concert of electro-acoustic music . The and Humanities” sought to explore the night before the conference began, the various ways science fiction writing inter- from Kim Stanley Robinson’s Jupiter Quartet and Associate Profes- sects with literature, the humanities, music, recent book—2312. In the book, sor Timothy Ehlen recreated a fictional and visual arts . The conference was held concert from Kim Stanley Robinson’s at Levis Faculty Center, Krannert Center for the concert takes place beneath recent book—2312 . In the book, the the Performing Arts, and the Music Build- Beethoven Crater on the planet concert takes place beneath Beethoven ing Auditorium from September 25–27 . Mercury and featured Beethoven’s Crater on the planet Mercury and featured Co-organized by Associate Professor Beethoven’s Hammerklavier Sonata and of Composition-Theory Stephen Taylor, Hammerklavier Sonata and the the Grosse Fugue played simultaneously . the three-day conference attracted writers, Grosse Fugue played simultaneously. The conference was co-sponsored composers, graduate students, and pro- by the College of Liberal Arts & Sci- fessors from various areas (including ences, the Center for Advanced Study/ landscape architecture, political science, speaker was Kim Stanley Robinson, an MillerComm, the Center for People and Medieval studies, and American Indian award-winning author perhaps best known Infrastructures, and the Learning to See studies) who participated in panels or for his Mars trilogy . The event featured Systems Initiative . gave lectures . The conference keynote performances by the Illinois Modern —Emily Wuchner, Associate Editor

winter 2014 7 campus news

Bob Stiehl Retires After 45 Years of Service

For the past 18 years Building Services, where he oversaw daily Bob Stiehl was the building maintenance and issued keys . first person nearly His engagement with music went every new School beyond his service to the University . For of Music student the past 30 years, in his spare time, Stiehl met upon arriving has arranged marching band repertoire on campus . Each and judged contests throughout Illinois . semester, students The Marching Illini, under the direction would trek to his of Gary Smith, even performed one of his basement office to arrangements . Additionally, he served as check out practice a judge at solo, ensemble, and organi- room keys, class- zational music contests with the Illinois Stephen Burian room keys, lockers, Elementary School Association, the Illinois (l to r) Dean of the College of Fine and Applied Arts Edward Feser, overhead projec- Bob Stiehl, and School of Music Director Jeffrey Magee celebrate Grade School Music Association, and the tors, and instru- Stiehl’s retirement at a reception in his honor. Illinois High School Association . ments for methods He attributes much of his accomplish- classes . For those 18 years, Stiehl greeted quickly discovered his love of music . He ments to his parents, Phyllis and Jay Stiehl, each student with a warm “Hello” and earned his bachelor’s degree in Music who early on instilled a love of music and his bright, contagious smile . Education from Millikin University before a desire to maintain and honor a solid But this semester the atmosphere is moving back to Atwood, where he taught work-ethic when serving and helping much different . After 45 years of service instrumental and choral music in the others . to the School of Music, Stiehl retired, Atwood-Hammond School District for Now, for the first time in as long as effective July 2013 . nine years . From 1974–77 he lived in he can remember, Stiehl has taken more Though other job opportunities arose Champaign each summer while working than two consecutive weeks off . “When on campus, Stiehl chose to stay at the on his master’s degree in Music Education, I get up, every day is Saturday,” he said . School of Music because of the students, graduating in 1977 . In 1978 he married Recently he has spent time visiting his faculty, and staff—all of whom he will his wife Barbara and settled in Urbana . daughters, both UI graduates . He helped miss seeing daily . From 1980–83 he worked part-time as his daughter Emily and her husband Brian “I will miss the students most and the a music teaching assistant at Urbana High Ziebart when they moved into their new everyday communication with them, the School and part-time in the UI School condo in downtown Chicago . He also environment that they bring, their trying of Music library . In 1983 he accepted recently visited his daughter Melanie to reach their goals and me being a part a position in the Office of Continuing and her husband Dave Rosin, both music of helping them do that,” he said . Education and Public Service in Music teachers in the East Lansing, Michigan area . Stiehl was born in Pana, IL and grew (now Outreach and Public Engagement), With his new-found free time, he looks up on a farm near Atwood, IL, 30 miles where he served for 10 years . After taking forward to more adventures to come . south of Champaign-Urbana . He began a year off, he accepted his last position, in —Emily Wuchner, Associate Editor playing trumpet in the fifth grade and Operations, Maintenance, Inventory, and

8 sonorities Magee Hired as New School of Music Director

Not long ago, Jeffrey Magee traded his explore other barely touched topics such fourth floor office and musicology syllabi as American popular song, Irving Berlin, for a suite on the third floor and a whole and musical theater . In 2005 he published new set of responsibilities . In Spring 2013 the book The Uncrowned King of Swing: he interviewed and was chosen as the Fletcher Henderson and Big Band Jazz, Director of the School of Music, effective for which he received two awards: the August 16 . Irving Lowens Award for Best Book in Magee was born in Indiana, Pennsyl- American Music from the Society for vania, a college town in a coal mining American Music and an excellence award region near Pittsburgh . As a youngster, he for Historical Recorded Sound Research took piano lessons and went on to earn from the Association for Recorded Sound a double degree in music and history at Collections . Just last year he finished his Oberlin College in Ohio . Naturally, his book: Irving Berlin’s American Musical interests merged and he began working Theater . toward master’s degree in Music History Since his move to Michigan, Magee has and Literature at the University of Cali- stuck with the Big 10 schools . He spent fornia - Berkeley . There, he studied under 11 years at the University of Michigan, the tutelage of eminent musicologists which encompassed his PhD work and including Joseph Kerman and Philip Brett . his first post-graduate job . He taught at But after meeting musicologist Richard Indiana University from 1997 to 2006 Crawford during a series of guest lectures, his research interests and accepted a teaching position at the University of Illinois changed dramatically . The pair clicked, and Magee moved to in January 2007 . While here, he has instructed a wide variety the University of Michigan to do his PhD work with Crawford . of classes and students, from graduate seminars in American “It was more than a geographic move . It was a change in popular song to undergraduate music appreciation classes . outlook about what I could do in musicology,” Magee said . Magee is married to Gayle Sherwood Magee, associate “Up to that point almost all of my musical training was in professor of Musicology, who also studies American music— the Classical tradition . It was very Eurocentric and I think I specifically Charles Ives and film music . They have two children: underwent a kind of conversion to thinking how is it that I’ve Ellen (17) and Miles (9) . gotten to this point and I haven’t learned much about musical Said Magee: “It’s both thrilling and humbling to have been life in my own country ”. named the Director of the School of Music . I am every day Magee completed his PhD in 1992 with a dissertation on astounded by the talent, brains, energy, and dedication that jazz bandleader Fletcher Henderson and his orchestra . In a surround me in this job—and that inspires me to do the best time when jazz was still emerging as a viable research topic, I can to serve it ”. Magee’s contributions were path-breaking . This led him to —Emily Wuchner, Associate Editor

New Degree Option: B.A. in Music Technology

Beginning in Fall 2014, the University ment in computer science, engineer- the areas of electro-acoustic composi- of Illinois School of Music will offer a ing, mathematics, software program- tion techniques, digital sound synthesis new degree program specializing in ming, and multimedia design . Since the and analysis, interactive performance music technology . The Bachelor of Arts digital revolution in the 1950s, UIUC systems, algorithmic music systems, spa- in Music with a concentration in Music has established itself into a leading tialization, and digital audio production . Technology prepares today’s compos- academic center for music technology . For more information, see www . ers, performers and educators to play Throughout the years, the Composi- music .illinois .edu/news_items/new- a leading role in research and develop- tion/Theory faculty have contributed degree-option-ba-in-music-technology artistically and technically to growth in

winter 2014 9 updates

ate this spring . I am prominent part of the University of Illinois Development Update also excited about for future generations . In addition to the working closely facility, he arranged to have scholarships with Julie Gunn, the guaranteed for female students in need David Allen newly-appointed of tuition assistance . Our outstanding Associate Director of Development Assistant Director program and musical heritage has grown, of Development largely as a result of this important gift . and Engagement . I Perhaps you once performed, studied, am extremely grate- practiced, graduated, or simply enjoyed As the newly-appointed Associate Director ful as I enter this exciting new phase of a musical performance in this wonderful of Development for the School of Music, involvement with the School . space . If you did, you are already a part my interactions seem quite similar to those of the Smith Legacy by participating in I coordinated for nine years in our Office A Legacy of Giving that began music as Thomas Smith intended . As Smith of Outreach and Public Engagement . Once with Smith Memorial Hall Hall undergoes renovations, we see this again, I find myself reinforcing the connec- as an opportunity to revive Smith’s dream tions between alumni and friends while As we celebrate the history of Smith Memo- by providing additional opportunities to establishing new relationships whenever rial Hall, it is appropriate to consider be a part of the legacy . Perhaps you will possible . I have received support from my the monumentality of Thomas J . Smith’s consider naming a Recital Hall seat or a predecessors Sally Takada Bernhardsson donation to the University of Illinois . Smith room to help guarantee that future genera- and Marlah Bonner-McDuffie, and also Memorial Hall was constructed during a tions will have access to music at Illinois . from Lauren Coleman, who has spent time when a designated space on campus Learn more about the Smith Music Legacy three years coordinating development was needed for musical activities . Smith Project at www .music .illinois edu/giving. and alumni activities, and who will gradu- wanted to ensure that music remained a and by reading our cover story .

Smith Hall Reflection

by Ray Janevicius music . The experience was exciting, grueling, demanding, stimulating, and satisfying . . . all at once . Although I did not select music as my profession, my ties to Smith Hall provided the backdrop for a passionate and the School of Music have always run deep . Smith Hall has formative period of my life . I am forever grateful that it an especially close place in my heart . I have always loved imbued the aesthetic into my psyche, into my very being . the charm, the elegance, the culture of the structure, this It entrenched music into my soul . extraordinary bastion of aesthetics . I majored in chemistry and minored in music, yet I revere the majestic halls of Smith Raymond Janevicius, BS ’74, MD ’78, and his wife Lori, are as much as any of the science laboratories where I studied . devoted supporters of the School of Music. Members of both Chemistry, physics, and calculus honed my academic the President’s Council and the Chancellor’s Circle of the skills and my profession . The rigors of science: arduous, University Foundation, they have established and sustained exacting, and relentless . But it was Smith Hall that begat numerous Awards and Scholarships at the University, including my humanity . It cultivated my aesthetics and enriched my two in the School of Music: the Elizabeth Meier Frauenhoffer culture: it is where I became a musician . After a grueling Memorial Award in Music and the Robert E. Thomas Award. day of classes and laboratories, I would retreat to Smith Hall, Dr. Janevicius is a reconstructive and hand surgeon practic- my evenings consumed in piano practice . I sought refuge in ing in Elmhurst, IL, who continues his passion for music as a room 340, whose piano matched perfectly with my particular pianist. Dr. and Mrs. Janevicius are proud that their legacy at performance requisites: crisp, clear, and resonant . I spent the University of Illinois continues in their children, Michelle, exhilarating hours sequestered there, consumed in making BA ’13, and Marshall, class of 2015.

10 sonorities updates

Donor Profiles A number of donors have contributed significantly to School of Music programs and students . Fern and John Armstrong established the John D . and Fern Hodge Armstrong Award for Outstanding Undergraduate Performance in 1989 . Both UI alums, Fern graduated in 1952 with a degree in Music Education while John graduated in 1950 with a degree in Mechanical Engineering . Robert Green and Professor Chet Alwes Thanks to their gift, hundreds of School of Music students have benefitted from this award over the past 24 years, and their careers serve as a tribute to its legacy . In 2009, John passed away and the competi- tion was held for the last time in February 2012 . The Joe Bartkowiak Scholarship was Fern Armstrong and 2011 award recipient awarded for the first time last April to Luis Bellorin undergraduate trumpet major Joseph Traditional Music Award, given by the Pleshar . Joe’s friends raised funds for this China Conservatory and the Taiji Tradi- scholarship through events held at Our tional Music Foundation . His gift will Lady of Loretto Men’s Club, where he support world music activities at the School was a member . of Music and the Center for World Music . Over the summer, Paul and Sharon Richard and Jennifer Daniels donated Green established a four-year recruitment $10,000 to the Jazz Program as their son scholarship dedicated to the memory Richard moved to campus for his fresh- of their son, Robert H . Green . Robert man orientation . Richard and Jennifer graduated from UI in 1995 and had an Jim and Candy Frame believe in support- outstanding career as a music educator, ing the programs of conductor, and arranger . The scholar- which their children ship will be presented publicly on April are a part . 25, 2014 at the School of Music awards To learn more program . about how you Jim and Candy Frame recently gave can contribute a a seven-figure donation to establish the gift to the School of James R . Frame and Candace Penn Frame Music, please call University Bands Endowment Fund, which (217) 333-6453 or will provide unrestricted support to the email allend@illi- University of Illinois Bands . Jim was a nois .edu member of the class of 1973 and Candy graduated in 1972 . Professor Emeritus Bruno Nettl donated a large portion of his recently-won Taiji

Ray Janeviscius family winter 2014 11 updates

our campus faculty, program at ISYM will become a standout OPE Update 2013 facilities, and stu- scholar, musician, or teacher . We do dents . Close study believe that casting the widest possible of ISYM enrollment net and spreading the spirit of possibility By Stephen Burian has revealed that as far as possible is key to being a pre- Interim Director of Outreach and large numbers of eminent institution . Public Engagement those who attend Just as important is infusing our pro- ISYM apply to the grams with the expertise of our faculty . University (both in More than 30 professors served on the In its new Strategic Plan, the University and outside of music), a majority of these faculty of ISYM, and many others have has made no lesser goal than to be “the applicants are accepted and, of those integral roles in each of the other programs . pre-eminent public research university accepted, a majority matriculate into the Change has been a constant during with a land-grant mission and global University of Illinois . my three years working in the School of impact ”. In an important modern refine- All of this is still only part of the global Music, but with change we also enjoy ment of the original land-grant intent of reach of our school . The Black Chorus the opportunity to innovate and explore . supporting agricultural and mechanical performed in Costa Rica in August . The For OPE, a big change came on February arts, the new plan also calls for us to Illinois Wind Symphony will again perform 1 when David Allen became Director of “strengthen the visibility and impact of for high school students throughout the Development for the School of Music and the arts and the humanities ”. state in February, and around the time I moved from Assistant Director of OPE The Office of Outreach and Public you read this, the Concert Jazz Band and to Interim Director . Another came when Engagement in Music plays a key role an ensemble of our jazz faculty will be Julie Gunn was appointed as Assistant in the School’s quest to be global in our performing at the Jazz Educator Network Director of Development and Engagement . impact . National Convention in Dallas . We also recognize the addition of Our portfolio of engagement programs We have no way of knowing which Lindsay Gross to the OPE staff . Lindsay includes no fewer than 15 standing pro- fourth grader attending a Young People’s once attended ISYM as a student, and grams, as well as a host of one-time events Concert in the Great Hall, or which high after several years as assistant to the head throughout the year . From the vener- school student attending a pre-college counselor, now serves as Assistant Direc- able Illinois Summer Youth Music and tor of ISYM . Lindsay assists Nancy Boaz, Piano Laboratory Program to the nascent Julie Gunn, and me in administering OPE Make More Music after-school mentorship programs . Finally, we bid farewell to Steve program and the School of Music Academy, Schwaegler who has been associated with we have programs to serve a wide-ranging ISYM for 20 years, the last 11 as Head and diverse population . Each year these Counselor . Thanks Steve for sharing your programs bring more than 10,000 school- leadership and experience with ISYM! age students to campus to connect with Stephen Burian 12 sonorities Brief Musical Application Deadlines Moments: December 1 Final Deadline for Graduate Applicants January 2 Final Deadline for Undergraduate Applicants A Reminder Application/Audition Information J. Michael Holmes Enrollment Management Director Undergraduate go.illinois.edu/musicundergrad Clinical Assistant Professor of Music Graduate go.illinois.edu/musicgrad

While walking across the picturesque campus of the University of 2014 Audition Dates Illinois, I am easily reminded of the impact our School of Music January 18 Interlochen, MI community makes on the campus at-large . Music surrounds January 24 New York City, NY us, from the sights and sounds of the 370-member Marching January 31 on campus Illini rehearsing this weekend’s half-time show, to the chiming February 1 on campus of the carillon in Altgeld Hall and the McFarland Memorial February 7 on campus Bell Towers . It thrives in the group of graduate musicology February 8 on campus students who sit outside of the Music Building discussing the February 14 on campus newest book by Professor William Kinderman, and the small, February 15 on campus yet mighty group of music education majors who have col- lected on the Main Quad to strum their ukuleles on a beautiful September day . As I settle back into my office and reflect on the 2012–13 admissions cycle, these brief moments remind me why music is so powerful and why the Music Admission team works tirelessly to bring the best and brightest students to the University of Illinois School of Music . In Fall 2013, we welcomed approximately 235 new students to the Illinois School of Music family (125 undergraduate stu- dents and 110 graduate students) during our School of Music Fall Convocation in the Krannert Center for the Performing Arts . They were called to action by Angela Myles Beeching (acclaimed author of Beyond Talent) . During this event, photos of current students, faculty, and staff cycled on a large video screen behind our speakers and performers . These photos were a montage of the Who’s Who within the School of Music, and although our new students’ photos were not a part of this video,

I have no doubt that they will be in the future! As this event Stephen Burian came to a close, I observed our new and continuing students Students participating in events such as ISYM (pictured above) experience campus life during the summer. wrap their arms around one another as we sang the University of Illinois Alma Mater—it was a simple gesture with a profound days), the annual School of Music Open House, the School of message: “welcome to the family . . . the University of Illinois .” Music “SHADOW” program, and serve as a resource for our As we look towards the next admissions cycle, which will prospective students and their parents . The Music Ambassadors be well underway by the time this publication finds its way into (as well as all of our School of Music students) continue to your hands, we are working closely with our current students inspire us and give us the momentum to look for more bright to develop meaningful ways for them to interact with prospec- and talented students to join our family . tive music students . We formed the Music Ambassadors, a core For those students interested in applying or auditioning group of student leaders from within the School of Music . The for the school of music, please visit: www.music.illinois.edu/ Music Ambassadors are involved with on-campus audition prospective-students . days, University recruitment events (such as Orange and Blue

winter 2014 13 A ‘Triumvirate’ Birthday: Celebrating the Lives and Works of Verdi, Wagner, and Britten

Emily Wuchner, Associate Editor his year marks the birth of three influential compos- ers, which has resulted in many performances, conferences, and celebrations held world-wide in their honor. Hundreds of University of Illinois students, faculty, and alumni have taken part in these festivities, both on and off campus. A snippet of their activities 100 follows. Ve Wagn rdi er 200 Britten

Giuseppe Verdi (1813–1901) Simultaneously the most memorable and terrifying time Interim Director of Choral Activities Kristina Boerger sang Verdi’s Requiem was in the Grant Park Festival in Chicago. “I was positioned right by the bass drum and in the Dies Irae, you whack that thing as hard as it can be whacked; I never knew that a bass drum could be that loud,” she said. The work is one she knows well, through performing and rehearsing. In 2008 she prepared the Collegiate Chorale for a performance of the Requiem with the New York City Opera Orchestra in Carnegie Hall. Most recently, she prepared the University Chorale and Oratorio Society for their November 21 performance with the Men’s and Women’s Glee Clubs and Sinfonia da Camera, under the direction of Ian Hobson. Associate Professor Ricardo Herrera (bass) was one of the soloists. Hobson contacted Boerger early in 2013 about his plans to perform the work for the bicentenary celebration of Verdi’s birth. “It’s really one of the great pieces in the Western concert art. I mean, it’s really beloved of players and singers,” Boerger said. “It’s just a beautiful,

14 sonorities “It can really be heard as a powerfully dramatic musical piece about death. About our fears about death, our hopes for the possibility of a glorious after-death, the fear that we’re not going to have that.”

parts to playing in the orchestra to working behind the scenes in stage management or the costume shop. Diazmuñoz said Falstaff includes some of the most complex compositional techniques, such as an eight- part fugue sung by 10 singers. This craftsmanship is all

Emily Wuchner the more surprising when one remembers that an aging Interim Director of Choral Activities Kristina Boerger compares 80-year-old composer was responsible for it. scores of Verdi’s Requiem in preparation for the November “It contains everything Verdi looked for and even concert. more. It is an excellent story and a well crafted and funny libretto,” he said. “It has gorgeous melodies—not the engrossing, powerful, demanding work. There are few of themes one would expect from his previous operas—but its caliber. . . . There are few huge pieces for chorus and the melodies and the inventiveness of his lines are there, orchestra that bring such rewards to everyone involved.” a magnificent and intelligent treatment of leitmotives, Primarily an opera composer, the Requiem is one of extraordinary orchestration, excellent dramatic direc- the five sacred pieces Verdi wrote and the only one that tion, good taste, extraordinary sense of timing, and the requires full choral and orchestral forces. In addition to overall texture.” the four soloists, approximately 260 musicians crowded the stage of the Krannert Center for the Performing Arts Great Hall. The vocal parts for both the soloists and the Richard Wagner (1813–1883) choir are challenging in part because of the dramatic singing required. As a musicologist specializing in Wagner studies, Kather- “It can really be heard as a powerfully dramatic musical ine Syer has looked forward to celebrating this Wagner piece about death,” she said. “About our fears about bicentennial year, but now looks forward to its conclusion. death, our hopes for the possibility of a glorious after- The year began with three simultaneous Wagner confer- death, the fear that we’re not going to have that.” ences, which led to a constant flow of Wagner-related Less than 10 years later, Verdi embarked on his final activities. One particular event that she presented at was work, the comic opera Falstaff, which was staged in the Wagner 200 conference in London, featuring a series November by the UI Opera Division under the baton of of concerts, symposiums, and lectures held throughout Eduardo Diazmuñoz, who chose the opera to celebrate the year. both Verdi’s bicentennial and his career. “It is, of course, very rewarding to know that the field “This was his last work, and I consider it a gracious, I work in is so vibrant and that there’s such a strong exemplary, and marvelous way to bid farewell to opera following, and then the audiences have been fantastic and life,” he said. and keenly interested. The debates have become richer, Diazmuñoz met with stage director Kathleen Conlin farther ranging . . . in many ways very rewarding,” she said. in January 2013 to begin conceptualizing the stage Syer presented her research at conferences held world- design. Originally a Shakespearean play, the opera was wide, including in South Carolina, the University of Leeds, performed in a traditional staging, as close to Verdi’s London, Barcelona, and Melbourne. Her presentations instructions as possible, but set a century later than the have ranged in topic from historical source studies to the composer intended. genesis of libretti and contemporary production history. Auditions were held shortly after school started and This past summer, she and her family, including husband rehearsals continued up until the performances, Novem- and musicologist William Kinderman, spent time in ber 14–17. Approximately 100 UI students participated Europe where they were in the center of Wagner-related in the production, from singing specific roles or chorus action. Their trip included taking in Kent Nagano’s last

winter 2014 15 Jess Gersz and Danielle Jordan Jess Students in the Costume Shop designed and created the wardrobe for Falstaff, including the above piece.

Ring Cycle with the Bavarian State Opera and watching an “Wagner is a highly controversial topic in Israel, because epic Wagner vs. Verdi battle—complete with enormous of the way the National Socialists used Wagner’s work puppets—in the center of Munich. and exploited his reputation,” he said. “My lecture on To further heighten the celebration this year, her book ‘Wagner’s Parsifal as Art and Ideology, 1882–1933,’ Wagner’s Visions will be released. The book addresses concerned darker issues in Wagner reception related Wagner’s operatic scenes where a character enters an to the rise of National Socialism. It also deals with the altered state of consciousness, though simultaneously contradictions that invest Parsifal and its reception, since experiencing a distorted form of the past and elements that work in some ways does not lend itself at all to the of the future. She situates these scenes into the psycho- National Socialist ideology.” logical thought and political currents of Wagner’s time Kinderman and Syer also integrated Wagner and to better evaluate his relationship to culture and politics. Verdi repertoire into their semester syllabi. This past In July, Kinderman released his new book, Wagner’s semester Kinderman’s work on Parsifal was discussed in ‘Parsifal,’ which is a topic that has occupied his interest his musicology seminar and during his six-day residency since the 1980’s. A combination of manuscript studies and at Queens University in Kingston, Ontario, in October. historical context, Kinderman focuses on the rich political In Spring 2013, Syer used the later works of Verdi and ideological heritage of Wagner’s last work. He has and Wagner as the focus of her graduate seminar class. written a blog about his new book, accessible at: blog.oup. “Everyone was passionately and deeply interested in com/2013/03/richard-wagner-parsifal-stassen-lorenz/. the material. There was a lot of close score study, and “As an artwork I’ve always found Parsifal very impres- it was a really harmonious and intelligent group,” she sive and, having taken seminar groups to Bayreuth many said. “I really appreciated them very much. It was a very times, I’ve seen how powerful an effect it can have on rewarding experience for me.” others,” he said. Topics addressed in the book have also materialized into lectures he gave in South Carolina and at a 10-day Benjamin Britten (1913–1976) festival in Leipzig. Significantly, he was invited to speak on Parsifal and Beethoven’s Diabelli Variations at the As an undergraduate at UI Justin Vickers (BM ’96, DMA Hebrew University in Jerusalem. ’11) found himself drawn to Benjamin Britten, whose

16 sonorities music he frequently sang at recitals. Little did he know “It was very heartening to realize that the university the music would impact his life and career. would celebrate and support the scholarly and “I certainly didn’t know then that he was going to captivate me,” Vickers said. “Something about the music research interests of their faculty in such a big way, just makes sense. It’s like a friend. It’s like a familiar especially for someone virtually unknown to them,” spirit somehow.” Vickers said. Britten’s life and music continue to captivate Vickers. Recently, he recorded song cycles in Britten’s music room to accompaniment coming from the composer’s piano. members Yvonne Gonzales Redman, and Jerold Siena, He also resided briefly in the Red House in Aldeburgh– and pianist Julie Gunn performed at a recital during the home Britten lived in with partner Peter Pears. the conference. Now a faculty member at Illinois State University in Plans began to materialize in late April 2012—just a Bloomington-Normal, Vickers co-hosted his own Britten little over a month after Vickers was offered the job at centennial conference with Illinois State University ISU. Though his appointment did not begin until August Professor and UI alum, Karyl Carlson. Held October 2012, the university started his contract four months 24-27, the conference included presentations by nearly early so he could continue working on the conference. 30 scholars from throughout the world—including two “It was very heartening to realize that the university from the University of Illinois. The conference began would celebrate and support the scholarly and research with a performance of the War Requiem, in which Vickers interests of their faculty in such a big way, especially for sang the solo tenor part. Other events included concerts, someone virtually unknown to them,” he said. lectures, film screenings, art exhibitions, and a dance That the conference occurred so closely to Champaign- recital accompanied by Britten’s music. The keynote Urbana is fitting, considering Britten’s links with the area. speaker of the event was Lucy Walker, director of Learn- Britten is also a favorite composer of the Jupiter String ing and Development at the Britten-Pears Foundation, Quartet, who made sure to include his three quartets who was introduced by UI musicology Professor Emeritus in its repertoire this year. Violinist Nelson Lee said the Nicholas Temperley. University of Illinois voice faculty quartets were written at different points of Britten’s life and each expresses a wide range of colors and timbres. “I think his musical language is very identifiable and unique,” Lee said. “He has a really strong and recogniz- able voice in his music, and we are most familiar with the quartets, having played them. All three of his quartets are very different, but you definitely hear his voice coming through all of them.” On May 25, the Jupiters were invited to perform all three quartets at Esterházy Palace in Eisenstadt, Austria. This was the first time the group performed on the Haydn- saal stage (named for the famous resident composer/ conductor, Joseph Haydn), and Lee said the acoustics and atmosphere were incredible. “It was great to play them all in one concert like that and to be in that environment; the palace was very inspiring,” he said. The concert in Austria is the only time this year the Jupiters will play an all-Britten concert, although they will continue to play the quartets individually throughout

Justin Vickers Justin the semester. Printmaker Richard Finch inspects the special edition lithograph made especially for the Britten Symposium. The images on the lithograph include Western Union telegram and the Inman Hotel letter from Champaign.

winter 2014 17 “The Voice of America’s Musical Vitality”: Benjamin Britten and the University of Illinois, January 1940

By JUSTIN VICKERS (BM 1996, DMA 2011) but scarcely sweet—that’s to say with regard to the Benjamin Britten and tenor Peter Pears arrived in North writing—because who could write properly with the America on May 9, 1939, remaining in Canada until temperature 6º below zero?” [See Image 2.] Britten was entering the United States via Grand Rapids, MI, on June experiencing the textbook Illinois winter—about which 12, 1939. So began Britten’s “Ameri- his correspondence frequently remarked. can Years”—a On January 15, 1940, Britten made his American début playing his own [Piano] Concerto No. 1 in D with period that pro- Image 1. Britten to the Mayer Family; the Illinois Symphony Orchestra. On that date’s Chicago duced 19 major January 3, 1940; GB-ALb,Vickers; Mayer used by ears Foundation. works—lasting Collection. Photo by J. Daily News, under the headline “School Band Din Called permission of the Britten-P until March 16, Vital by British Pianist,” the journalist writes that while 1942. In late June the general public might eschew a band rehearsal, to 1939, the couple Britten, “those same sour cornet notes are the voice traveled to New of America’s musical vitality.” Emboldened, Britten York State and asserted: “composers should give attention to high- stayed near Aaron school virtuosos,” commenting upon hearing a number Copland—with of “wind bands” (a curiosity to the English). whom they would Britten’s fleeting time on the campus of the maintain a long, if University of Illinois may have been but an inter- sometime detached val before his upcoming Chicago début, yet his friendship—before delighted participation underscored his interests settling on Long in future generations of young artists, forming part Island in August of of a still greater urge to absorb quintessentially that year. American musical trends. Indeed, in Britten’s En route to Chicago, compositional output, the 26-year-old com- his desire to poser decamped to foster musical Champaign-Urbana, for acumen in a guest appearance on children is met the campus of the Uni- out in numer- versity of Illinois. Upon his ous works for January 3, 1940 arrival in Champaign, school-aged chil- Britten—who relished puns and school- dren’s ensembles boy humor in his correspondence—sent and Anglican a typically witty night telegram to Long boys’ choirs. Island quipping about “Champaign For the full article on Britten’s until Sunday” [See Image 1]. Image 2. Britten to Elizabeth Mayer, January 5, 1940 [1r.]; “Before I embark on another day GB-ALb, Mayer Collection. Photo by J. visit to Champaign- permission of the Britten-P Urbana, see the of this madness,” Britten pens on Vickers; used by stationery from the Inman Hotel in ears Foundation. School of Music Champaign, dated January 5th 1939 [recte 1940], website. “I want to write you a little note in return. I’ll be short

18 sonorities Recognizing Life’s Rewards

Composer, musician, author, and entre- on 88, and I know a lot of things now preneur Gunther Schuller was the May that it took me some considerable 2013 Commencement speaker. time to learn. I would like to share those thoughts and feelings with you. Some of you, or perhaps most of you, Yes, I was very talented and ambi- may have heard of me—you heard tious and energetic and smart; and something about me a few minutes sometimes I thought I knew it all. ago—and about the rather wonderful, Maybe I even thought I was “the best.” happy, rich, successful life and career But what I really, really, really learned I have had in the world of music. I was that the more I learned and the say this not in any sense of boasting. more I knew, the more I knew how On the contrary, I say it in all humil- little I really knew, and how much ity. For I have been so fortunate . . . more there was to know and to learn. so many things, so many people, so That will happen to you, too. And many events and circumstances con- that’s why I implied earlier that it is a tributed to the successfulness of my wonderful thing to be prepared, nay life and career. Indeed, a lot of it was Scott Christenson to be eager, to continue learning. Not sheer luck. I’m sure you’ve heard that one before, the only in the sense of formal education as you’ve had here thing about luck. Any truly honest person when asked at this university, but in the sense of always reaching and about his or her achievements, regardless of what field pushing forward within your field, whilealso branching of endeavor, will tell you that a lot of it has been about out into wider fields, probably related to your primary luck. But it is, of course, also about talent, hard work, activity. I learned very soon in my youth how enriching persistence, learning and continuing to learn, to acquire and fascinating that could be. even greater knowledge and experience. I just used the word “enriching,” and earlier I used I don’t intend to preach at you, to tell you what you to word “rich” when I mentioned what a wonderful, should do and how to do it. Nor will I advise you how happy, “rich” successful life I have had. I didn’t mean to become rich and famous and successful. I won’t talk rich in any monetary or financial sense, I meant rich in about that at all, because that’s not what life is all about. the sense of content, of substance, of significance, of By the way, if I had a sure-fire formula for how to become depth of experience. We human beings are very special, rich and famous and successful—and, of course, I don’t, arguably unique, in the animal kingdom. We have highly and I don’t think anybody has such a formula, but if developed brains with which we can count, which means I had one, then I would probably have bottled it and we can count money—and in this commercial, capital- patented it and then I would probably have become rich ist society, we have many people who do that a lot, and and famous. Anyway, no, that’s not what life is about. some do it really very well, while others don’t seem to get Life has much greater rewards than wealth and fame. it right. In any case, we special human beings also can They are subtler, more inner-directed, inner-felt. They’re create, and much more than just procreate—producing not as obvious and they are not so materialistically inclined. offspring—we can invent. We can imagine new, never But those rewards usually don’t come that quickly; they before seen things. We can envision. It is those capaci- take longer to acquire and to appreciate. So what I want ties that give real meaning to our existence, to our lives. to do now is to talk about what I have learned in my long When we want to measure the ultimate accomplish- fruitful life and about the values I espouse and about the ments of our long human history, of our collective civili- benefits and pleasures thereof. Some of what I learned zations from the beginnings of time to now, we measure took me a long, long time to learn. You do get wiser with all that by what we have cumulatively created, invented, age; not necessarily smarter, but wiser. I am now going and brought into being. We don’t measure it by wealth,

winter 2014 19 because sheer wealth is ephemeral, elusive, transitory—at it is not necessary to hate someone just because one dis- times dangerous. Art, invention, creation, discovery, all agrees with that someone. And then I also learned more these are eternal. Everything I ever did—and I do mean and more to listen. Not only to talk, but to listen—a lot. everything—was never done with money in mind, with Listening goes with learning; and I learned that one can money as the primary motivation. It was done for the learn a lot by listening, to both good and bad; to both innate love of the thing, for the absolute need to do it, right and wrong. A corollary to that thought is the fact money or not, whether that was composing or conduct- that I learned as much—or perhaps even more—from ing or playing the French horn, teaching, publishing the mistakes and failures I made—and there were plenty music, producing recordings, writing books, and so of those early on—than I did from my correct decisions on. Of course, I didn’t turn down money when it was and successes. involved, when it was offered. But that was like a bonus, I gradually also learned that integrity, as much as pos- a dividend. It wasn’t what made me do it. sible—that is, inherent integrity with the minimum of Now I realize, I’m probably a freak of this society, a compromise—that this is a necessity in a truly fulfilled capitalist society, and I don’t suppose that this can be or life. By integrity I mean moral, artistic, and professional ought to be everyone’s way of life. But it was so with me; integrity. I think integrity is an intrinsic part of our human and it was (and still is) an exhilarating and very happy DNA. But it is also vulnerable and corruptible, and the experience, and very successful. temptations of expediency and of the marketplace are In the end I actually became quite wealthy, in a modest around us all the time. I soon learned that it takes a sort of way. And I believed that wealth and money were good dose of moral discipline to fight off, to resist the to be used to do good deeds. To help others and to share temptation to compromise. my wealth and my good fortune with my fellow human I just used the word discipline, and I know that in many beings. The acquisition of more wealth for wealth’s sake circles and in some of our youth discipline is a kind of was an anathema to me. And as a consequence, over dirty word. “Having fun” is a much more applauded a period of many years I gave away several millions of concept. Well, I learned, fortunately sooner rather than dollars, mostly by publishing young unknown composer’s later, that discipline and having fun are not incompat- music, giving them in effect their first publication and ible. They can live together in us; discipline can even be many further publications, or by producing recordings fun. It has its own very special rewards. for my record company, which gave performers and Humility, humbleness, is another value I learned to composers their first recordings. I did all of this at my cherish. It was not something I actually had to acquire, to own personal expense, never taking any salary, and in learn about. I seemed always, even as a young teenager, to fact mostly losing all that money. But as long as I had it, I have a sense of humbleness. And I mean this “humbleness” didn’t mind losing it, spending it well. Those recordings not as some kind of phony modesty, but as an article of and publishings were never intended to make money. I faith, a belief, a firm recognition of how small—as won- did what money is for: to spend it well, to give something derful and unique as each of us is—how infinitesimal, back, to do something valuable with it. how almost insignificant we are in the grand, global, Thus I learned that giving, that sharing, is wonderful and historic scheme of things. It’s a good thing to try to and very gratifying, that giving is better than taking, or keep this in mind all the time. In my case, as talented as only taking. From which I learned that a good part of life I seem to have been, it kept me pretty humble. Especially is ultimately all about “us,” “we” and not about “me.” I when I learned and saw what Beethoven and Mozart and hope that we will in the future in this society have more Stravinsky had accomplished. What Shakespeare and about “we” and less about “me!” Emerson and Emily Dickinson; what Rembrandt and Furthermore, as I learned about this concept of sharing Titian and Picasso had accomplished; what Galileo and and giving, I also learned more and more about respect, Leonardo da Vinci and Darwin had achieved. It kind of respect for others, even for others with whom I disagreed, keeps things in perspective for you. or where I believed in another alternative. I learned that

20 sonorities “When we want to measure the ultimate accomplish- ments of our long human history, we measure all that by what we have cumulatively created, invented, and our degree- and diploma-conscious academic world.) But brought into being. We don’t measure it by wealth, I learned a great deal from both my self-education and my involvement years later as an educator, as a professor because sheer wealth is ephemeral, elusive, transi- at various universities, as President of the New England tory—at times dangerous. Art, invention, creation, Conservatory of Music for 10 years, and as Artistic Direc- discovery, all these are eternal.” tor of the Tanglewood Music Center for 22 years. I have also been a keen observer of education in general in this country and an avid analyzer of curricula in educational Speaking of perspective and then thinking about our programs. What I learned from all that is that a six-year place in society as artists and creators, it is imperative education program—let’s say, undergraduate and gradu- that, as you now go out into that big bad world to make ate—and even with degrees beyond that, no matter how your mark, you commit yourself to staying involved with good or comprehensive, no matter how wide-ranging that society. That you engage with it in the hope that you those curricula may be, they will not—because they may contribute something meaningful to it. It goes to cannot—provide you with everything you should know, what I said earlier about learning and giving and sharing. you need to know, you might want to know and learn. No Selfishness isnot an option. curriculum, even the best (if there is such a thing), can By the way, we live in a society where arts and culture provide all there is to know and to learn. So much more are not prized as much as commerce, celebrity, and has to be done on one’s own, and must continue to be extreme acquisitions of wealth. What this means is that done. Formal education and training is just the begin- as artists—just even to survive, but also to engage—we ning, a wonderful and hopefully inspiring beginning; need to be adaptable and flexible; we need to take some a kind of huge blueprint, which has to be continually risks in our lives. We have to be brave and courageous, expanded and elaborated upon. And that is a wonderful and if necessary provocative. thing. One way that I like to describe a good rich life is It goes without saying—I’m going to say it anyway— as a gigantic, never ending learning curve. that these are especially difficult, complex and confused I hope I have offered you some interesting thoughts times. We are such a fragmented, fractious, and polar- on which to further contemplate. These thoughts and ized society. So we must now help to bring things back ideas comprise some of the things I have learned in my together, to help heal the many wounds that have been long, rich, beautifully fulfilled life. sustained. I will close with one final thought. It is not by me, We have in recent decades, along with our various but by a great lady, a great woman, a great artist, named societal ailments and afflictions, become too conformist, Gloria Steinem—one of my many true heroes. In a too complacent; where individualism and independence commencement address way back in 1987 she said to a of thought in the sense of a democracy are in serious graduating class: undersupply. A social consciousness is now needed more “This is the last period of time that will seem lengthy than ever before. to you, and too protracted. But from now on time will In closing, I want to become a little more specific as pass without artificial academic measure.” (I would add concerns you as artists, as a kind of artistic intelligentsia that it will go with lightning and frightening speed.) Ms. of the future. You are just about to graduate from a many- Steinem then said: “Time will go by like the wind, and year long process of education and learning. You have then time is suddenly gone.” She was so right. now survived that process (I assume), and I hope (and For it turns out that life is very, very short. I didn’t know assume) it was relatively happy and fulfilling. I stand that earlier on. So please don’t ever waste any time. All before you as a high school dropout, as someone who the best to you, much love and beauty and happiness in is self-taught and self-made. (By the way this is basically your life. And much fun! no longer possible and certainly not recommendable in

winter 2014 21 The Entrepreneurial Musician: YOU

Author of the acclaimed “Beyond Talent: this concern says a lot about the cul- Creating a Successful Career in Music,” tures of music schools everywhere. Angela Myles Beeching was the keynote So what did we talk about? Here’s speaker for the Fall 2013 convocation. some of it: We talked about the fact that many I’m honored to be a part of the cel- musicians today play a range of genres ebration welcoming in a new year and styles: that in fact the whole indus- and a new age: welcome to entrepre- try is becoming increasingly “multi- neurship! My goal today is to reveal lingual” when it comes to what used a way you can make the most out of to be considered categories of music. this year: a way you can increase the It seems somewhat “old fashioned” return on your investment. to only play music in one narrow cat- To help, I brought three items: egory—the genre formerly known as a story from my summer vacation, “classical” is morphing and the future a dilemma, and a challenge (and looks amazing. this is where you’ll need to write We also talked about the fact that something down—we’re going to very few orchestras have 52-week

put everyone to work). So it’s story, Stephen Burian seasons, so most orchestral players dilemma, challenge. have multiple income streams and so Here’s the story: earlier this summer I was in Breck- it seems entirely reasonable to be able to do recording enridge, Colorado at the National Repertory Orchestra session work and performances and tours with bands, program—was there to give a talk and do some individual depending on the scheduling. And we also talked about and small group consultations with some terrific young the fact that it’s her damned life, so who the hell cares musicians. NRO is a great program, two months of inten- what other people think? sive concerts and workshops. It’s beautiful—way up in The reason that this story has haunted me—and why the Rockies—and once I got past the altitude sickness, I’m talking about it months later—is that it illustrates I had a blast. part of the dilemma I will talk about next. I had a conversation there that’s been haunting me. I want to name one of the unspoken problems of music It was with a talented violinist who wanted to talk about schools and of our education system in general. I find a career issue she was struggling with. She explained it can help to acknowledge the “elephant in the room” she’d always been focused on an orchestral career and since we each need to learn how to manage around this did fairly well in auditions, and her concern was that in issue. And actually I think we can do better than manage the back of her mind she was also—and this sounded around the issue: I like to think we can learn to dance almost like a confession—attracted to the idea of playing with the elephant. backup for country music groups. So here’s the problem: our education system in many My response was, “Sounds cool—what’s the problem?” ways trains us to become passive learners. In classroom She looked at me with surprise and relief. She went on settings we study to be able to spit back what’s required to explain that she hadn’t felt comfortable talking about for the exam. We typically pay attention enough so that this with anybody at her school. I asked why. She said she we can win the points to get a decent grade, to please didn’t think people would “approve” . . . thought they the teacher, pass the class, to get the degree, and sup- might look down on her, or think she’d abandoned her posedly a job. From kindergarten through college, it’s goal, that she’d “sold out.” all too often about following directions and doing what’s Now would anyone actually give her a hard time about assigned. But we’re clearly living in a world now where this at her school? I don’t know—but that she even had that’s not enough.

22 sonorities “We all have goals, we all have things we’ve been procrastinating starting, or talking ourselves out of. So the question is: what’s your project? What The deal with these ideas or goals is that to become career-related project do you want to take initiative real, they need to be articulated. You have to have the guts to admit to yourself that in fact you ARE interested on? What is it you want to explore? Maybe it’s some- in whatever it is. Then you need to have the courage to thing that you’ve been reluctant to tell others about? talk to another person about it. If you know what that something is, write it down.” Unfortunately, musicians often keep these ideas to themselves. Worse, they often talk themselves out of pursuing projects, thinking they’re too ambitious or Let’s extend this rough assessment to how we study too time-consuming. This is a shame, because it is these music. With music, we have an added component to creative project ideas that can lead musicians to reward- this passive learning: the master/apprentice model. ing and satisfying career paths. We study with teachers we want to emulate, learning by Let’s go back to our violinist friend interested in playing imitation and often by rote to perform “correctly” to for country music bands. We talked about how to turn another person’s standards. Many of us started studying an idea or a goal into a project—something you could as very young children, playing to please our parents, explore in a practical way to test out and gain some early then our teachers, and later on our coaches, conductors, experience with. In this case, we talked about network- and employers. ing with studio players in her area, jamming with local Please don’t get me wrong here. I’m NOT saying that country bands, and researching venues, studios, labels, music schools are bad. I believe in music and music educa- and musicians in her area. We brainstormed about how tion, and I know all too well that schools have to balance to get started networking and exploring. From an entre- competing needs and goals. And the truth is this model preneurial viewpoint, this is the “R&D,” the Research works really well for much of what we as musicians need. and Development phase. And you know what? This is But it doesn’t work so well for developing individual the phase that lots of people never get to, often because creativity, innovation, or leadership: the stuff that’s at they haven’t had a conversation with someone who might the core of entrepreneurship. And for that violinist I help them think it through. talked with, she was afraid to talk about what she wanted It can really help to talk with someone about your to do as a musician because it wasn’t sanctioned—it secret goal, an objective person who can brainstorm wasn’t part of the program. That’s the education system with you. The good news is you have plenty of excellent letting us down. faculty and staff right here at the University of Illinois. Again, this is to acknowledge the elephant in the room: Have the conversation that can get you started. when we try to teach entrepreneurship and encourage We all have goals, we all have things we’ve been pro- innovation, leadership, and creativity, we are doing it in crastinating starting, or talking ourselves out of. So the an environment that in some ways is at odds with our question is: what’s your project? What career-related education system. That’s the dilemma. project do you want to take initiative on? What is it you Just think about the quintessential entrepreneurs: Mark want to explore? Maybe it’s something—like our violinist Zuckerberg dropped out of Harvard as did Bill Gates, friend—that you’ve been reluctant to tell others about? and Steve Jobs quit Stanford. I’m not saying quit school, If you know what that something is, write it down. but I am saying that passive learning is not enough in In case any of you are struggling because you have today’s world. too many projects: choose the one that as of right now, So for those keeping score, we’ve done the story, the seems to be generating the most heat. It should be a dilemma, and we’ve arrived at part 3: the challenge. project that you can see yourself actively working on for Every musician I’ve ever met, actually every creative the next few months, because you care about it. person I’ve ever met, has a goal or idea in the back of What to do if you can’t come up with a project? Anybody their minds for a special project, something they’ve always in that boat? Think about what you’re curious about— wanted to do, create, or help make happen. Think about what you might want to investigate. There’s got to be our violinist friend. something. If you’re really stuck, then your project might

winter 2014 23 be to find the thing that you really are interested in and on how to take the next step. And that someone could talk to a faculty or staff member about that. very likely be out in the lobby when we’re done, at the So now’s the time to come clean with yourself. What’s reception, or sitting just a few seats away from you now. the project YOU’d like to take on this semester? What’s And the last piece I want to leave you with is a reminder something you want to explore? What can you do about about something that many of us get wrong. It’s all too it this semester? Write it down. easy to fall into the habit of thinking that the educa- Writing your goals down is really important. Here’s tion you are getting is about the program, coursework, why: Years ago they did a study at Harvard of the gradu- lessons, and tests you are given—that your education is ating students to find out how many had written down the curriculum. Wrong. The actual education you get their career goals. And when they went back 15 years lies in what you make of these—it’s what YOU put into it: later and checked in with that graduating class, they the thinking, trying out ideas, the new connections you found that the 3 percent who had written down their make as a result of what you read, experience, and do goals were now making more money than the rest of here at the University of Illinois. Projects are focused on the class combined. “doing” as opposed to “being.” Project learning is about Now, I’m not saying that if you write down your project action—it’s the antidote to passive learning. goal now that you’ll make a lot of money. I AM saying Again, I congratulate you all on the new initiative, and that writing down your goals is a form of commitment— my hope is that you’ll take the challenge and activate it has an uncanny effect of keeping us focused on our your learning. goal. So keep your card. The next step would be to talk Thank you! to someone who might give you feedback and ideas

School of Music Wish List

Our Divisions are in need of the following items: Musicology Division needs $2,500 in annual support to for an annual spring semester “Current Trends in Musicology” Audio Division needs $1,600 for two Martin LE 1200 stage lecture; $1,500 to purchase instruments for a Brazilian music monitors to improve live performances on campus; $2,400 for ensemble, to be directed by Assistant Professor Michael Silvers . two Sennheiser MKH 40 microphones to record performances in the Krannert Center for the Performing Arts Great Hall . Orchestra Division needs $10,000 to fund a training/lab orchestra of up to 60 players for students in the orchestral Building Management and Electronic Support needs $7,500 conducting program . for a digital information board in the lobby to assist guests to the music building; $2,500 to help fund a smart board and Organ/Harpsichord Division needs $15,000 for a new clavi- additional classroom technology for classrooms . chord; $40,000 for an eighteenth-century copy fortepiano; $50,000 for an early nineteenth-century copy fortepiano . Jazz Division needs funds to support its upcoming trip to the Jazz Educator Network conference in Dallas, TX in January 2014; Percussion Division needs $25,000 for a new set of profes- $2,000 for a Nord keyboard for use by the division; $1,000 for sional grade timpani for Smith Memorial Hall; $5,000 for two additional music stands for Smith rehearsal rooms 11 and 25; new drum sets for the percussion studio; $650 for a new set $500 for a new bass amplifier for Smith rehearsal room 11; of professional-grade temple blocks for Foellinger Great Hall $400 for new folders for Concert Jazz Band and Jazz Band II . performances and rehearsals .

24 sonorities The Manion Papers serious, but they all are pieces of the Archive Receives American music puzzle. Each collec- Donation from Family of tion is important and special, and last semester, I was fortunate enough to Deceased Alum work with a new puzzle piece. Ten boxes from Michigan made their way By Hannah Jellen (B.M. ’15) to the Center; they were filled with

Surprisingly, the Sousa Archives and Center for American Dennis Bathory-Kitsz concert programs, sound recordings, Music (SACAM) is not just about Sousa. In addition to published and unpublished manu- the “March King’s” papers, the Center houses ethno- scripts, correspondence, musicological notes, and other musicological recordings, the SAL-MAR construction, items. They belonged to Michael Manion, a musician, musical instruments used in the Civil War, and dozens composer, and University of Illinois alum who suffered of other collections that fall beneath the umbrella of a stroke just a few months before. Manion’s mother, “American music.” The materials that are part of SACAM Floy Manion, donated her son’s belongings to SACAM are diverse and interesting; some are quirky, some are following his death in 2012. It became clear to me as I rifled through these boxes, processing and organizing the materials, that Michael Manion was an interesting individual whose work offers valuable insight into fasci- nating late twentieth century compositional practices and the world of composers who utilized them both in Europe and America.

Sousa Archives and Center for American Music

winter 2014 25 Michael Manion was born in Grand Rapids, Michi- known as the Stockhausen Project, which included a gan in 1952 to Floy and Harry Manion. Showing an series of lectures given by Stockhausen on his composi- early aptitude for music, he began cultivating talents as tions- Wochenkreis and Licht: Die sieben Tage der Woche, his a drummer and composer. Manion performed in the seven-opera cycle. Grand Rapids Symphony as a junior in high school and Part of Manion’s success was due to his talent as a completed several pieces before the age of 20. He studied percussionist. Though he often performed many of his for two years at Grand Rapids Com- own compositions, several composers munity College before transferring From 1983 to 1987, Manion were also moved to write specifically to Oberlin Conservatory, where he aided Stockhausen as a copyist on for him. His friend and renowned studied with Dary John Mizelle. In composer Dennis Báthory Kitsz dedi- 1977, he graduated with a Bachelor notable pieces including Wochen- cated two pieces to Manion during his of Music degree in composition. Soon kreis, Kindheit, and Nasenflugelt- lifetime: Bales, Barrels, and Cones . . . after, Manion moved to Champaign- anz. Following his employment by Antebellum/Antibellum and RatGeyser. Urbana and attended the University Manion composed several pieces for Stockhausen, Manion remained of Illinois. There, he studied com- percussion, works that he performed position with Salvatore Martirano dedicated to the composer’s music often, including Long Roll I and Long and Ben Johnston. He graduated and played a vital role not only in Roll II for acoustic percussion, and with his Master of Music degree in the study of his vast body of work Music for Electronic Percussion for Mal- 1983. Following the completion of letKAT, an electronic MIDI mallet his studies at Illinois, he attended but also in the formation of the percussion instrument. He was not the University of Sussex, where he Stockhausen Society. confined to percussion alone, howev- worked with Jonathon Harvey. erMusic for Cello and Electronic Sounds, Apart from composition, Manion also proved to be Music for Piano, and Constellations for flute all were met an exceptional writer and analyst. His work includes two with success. papers, which today are important pieces of scholarship While in Europe, Manion was active with several music on Karlheinz Stockhausen. In fact, it was in part his skill organizations that promoted composition and computer as a musicologist that moved Stockhausen himself to music. All of the works that he published were put out invite young Manion to Cologne. Many people desired by Feedback Studio Köln, a composer-owned publish- to work with Stockhausen, but Manion’s proficiency ing company. In 1986, GIMIK (Initiative Musik und with engraving software and analysis, as well as his name Informatik Köln) was co-founded by Clarence Barlow, allowed him to secure the position. Stockhausen, who Manion, and a number of other composers. The Initiative was very superstitious, believed that having a copyist who worked towards the development of the media arts and possessed not only ability but also the name of a saint computer-aided composition. Manion was instrumental would be beneficial. From 1983 to 1987, Manion aided in the formation of GIMIK and participated in several Stockhausen as a copyist on notable pieces including of its greatest achievements, including the International Wochenkreis, Kindheit, and Nasenflugeltanz. Following his Computer Music Conference. employment by Stockhausen, Manion remained dedi- Manion remained active in composition and per- cated to the composer’s music and played a vital role not formance until 2008 when he suffered a stroke. For only in the study of his vast body of work, but also in the the next four years, his mother helped him enjoy the formation of the Stockhausen Society. Though modest, music and arts to which he had given his life, by taking the Society worked tirelessly to promote the preserva- him to concerts, museums, and other activities. Manion tion and appreciation for Stockhausen’s creative output. passed away in Fall 2012, and shortly after, the Sousa During his time in Europe, Manion attended the Archives acquired his papers. The materials have become Höchschule für Musik in Cologne, where he continued an important part of the collections, giving people a his compositional studies with Mauricio Kagel. He also chance to learn more about not only Manion, but also spent time in Den Haag, where he taught classes, studied, Stockhausen, composition, and American music in the and performed. There, he helped to arrange an event twentieth century.

26 sonorities Rediscovering Smith Hall

Construction photo, 1918: Courtesy of the University of Illinois Archives, Building By Emily Wuchner, Associate Editor Photographs, 1868–2000, RS 24/5/14 he first time Bob Stiehl saw Smith Memorial Hall, he was about 10 years old and carrying a trumpet case to his lesson. He remembers trudging up the white stone staircases to the practice rooms on the third floor. There, Tbehind a thick wooden door in a room with white cork walls, he learned trumpet technique and repertoire from a master’s student. Whether it was the building’s size and grandeur, its historical significance, or the music echoing throughout its halls—he can’t remember. But something clicked that day and for whatever reason, the Pana, Illinois native regularly finds himself drawn back to the structure since his first visit in 1958. Nearly four decades later, Stiehl took a job with the School of Music in Operations and Maintenance, Inventory, and Building Services; for 18 years he possessed all of the keys to Smith Hall. And, as a result, he knows the building’s nooks and crannies, from the attic crawl space to the floorboards underneath the seats in the Recital Hall and the open space underneath the stage.

winter 2014 27 In addition to managing the keys, he also supervised building mainte- nance. When faculty found themselves locked out of their offices, when light bulbs burnt out in practice rooms, or when a bathroom faucet was leaking, Stiehl made sure the problems were attended to and the building remained This phase of in working order. This usually meant at least two daily trips to Smith Hall. the renova- Though the faces of students and faculty members have changed over tions will focus the years, Stiehl says the entire building looks as it did 55 years ago. Despite minor renovations—including a new roof and the construction of lecture on tightening room 25 in the basement—Smith Hall has received relatively little TLC since the structure its erection nearly a century ago. For this reason, the interior and exterior by replacing of the building are undergoing a major renovation. the bricks that Renovations Begin have dete- For years students walking to and from the Main Quad experience free, riorated, the informal, performances—featuring anything from pianos to marimbas to masonry that voice lessons. But lately, these sweet sounds have been replaced by a dif- assists with ferent type of music, created by saws, hammers, drills, and construction equipment. At nearly a century young, the Tina Weedon Smith Memorial supporting the Hall is showing its age and is therefore receiving a much needed facelift. structure, the Beginning in 1939, Smith Hall received periodic maintenance to update windows, and various features—including the lighting, roof, and air conditioning—and the 50-year-old to make it compliant with American Disabilities Act standards. The biggest project occurred in 1999–2000 when the basement was upgraded and roof. remodeled, but all of these updates are relatively minor compared to the current construction project. Plans for the renovations materialized in Summer 2011 and in 2012, when the School of Music applied for funds from the Academic Facilities Maintenance Fund Assessment. This money comes from a mandatory fee collected each semester from students and is designated for assisting with deferred maintenance costs. An advisory board comprised of administrators and students reviews applications and chooses how to spend the money. The advisory board approved a $5 million contract to renovate Smith Memorial Hall, but since the contract was for more than $2 million, it had to be approved by the University Board of Trustees, finalized at their January 2013 meeting. Of the money received, $4 million will go toward architect fees, planning, contingency fees, and construction while the remaining $1 million will cover engineering fees. Construction began in March 2013 and crews wasted no time in setting up scaffolding and unloading heavy machinery. Jim Gortner,

Chad Wahls the School of Music’s assistant director for

28 sonorities Operations and Finance, said this phase of the renovations focuses on tightening the structure by replacing the deteriorated bricks, the masonry that assists with supporting the struc- ture, the windows, and the 50-year- old roof. “The building is about 100-years-old now, and every building needs main- tenance now and then,” Gortner said.

Emily Wuchner “Basically, the building had become The wooden- deteriorated to a point where we had to do something. A big part of this was the environmental concern within the building, so regulating temperature framed . . . and humidity levels so we can maintain the instruments properly.” windows are Since the beginning of the project, Melvyn Skvarla, campus historic Though most being replaced preservation officer, works with the contractors to plan and oversee the of the work with energy construction. With Smith Hall on the historic registry, one of his primary focuses on concerns is ensuring that the updates to the building closely match with efficient what the original structure looked like. the façade, windows with “We’re more conscious of what it looks like to maintain the (original) the third- aluminum look so that no one will see any difference when the work is finished, except floor practice that it rejuvenates the building for another, hopefully, 100 years on the frames. rooms will be outside,” Skvarla said. To this extent, crews replaced the wooden-framed windows with energy completely efficient glass with aluminum frames. Though the new windows appear updated. exactly the same as the old, they will require less upkeep because the new frames will not need constant repainting. While most of the work focuses on the façade, the third-floor practice rooms will be completely updated, and restroom facilities will be added. This includes improving the Heating, Ventilation, and Air Condition- ing (HVAC) system to better regulate temperature and climate control. Skavarla said that soundproofing tests were conducted during the planning stages; these tests revealed most sound escaped through the floor and into the offices below. Construction crews will set up a mock practice room to conduct additional tests on the acoustics and soundproofing. Once the room fits the prescribed standards, crews will fashion the remaining practice rooms. Workers took special care to restore the adornments in the second floor Memorial Room by repairing plaster- work, repainting the room, and cleaning the chandeliers. Skvarla said in the 1980s the ceiling of the room was painted with a monochromatic palette, with very little contrast and rather dull colors. Painters repainted the ceiling in the original color scheme, which resulted in

a striking difference in comparison with the old. The Chad Wahls

winter 2014 29 intricate motifs on the ceiling now pop with cream, coral, school year, students cross the Recital Hall stage during green, and gold trim. graduation. From its construction, Smith Hall was meant A blog on the School of Music website chronicles the to stand as the heart of the School of Music and today construction with daily updates and photos. These posts remains a life-force in the development of University of will continue until construction is complete, around Illinois students. Little do they know that behind the Spring Break 2014. building’s history stands an incredible love story worthy While these physical updates improve the quality of of the silver screen. the structure and accessibility of practice rooms, there are still other interior spaces in need of repair. Another The Smith Family $5 million renovation will begin in Fiscal Year ’15, focus- It began with Thomas Smith (1839–1918), who was born ing on faculty offices and the Recital Hall, as well as any in Preston County, Virginia but raised in Bellefontaine, other outstanding needs the building has. Ohio. He studied law in Louisville, Kentucky and was School of Music Director Jeffrey Magee has closely admitted to the bar in 1858. Shortly after, he moved to followed the renovations and visits the building from Champaign, where he established his law practice. In time to time to check on progress. Though the constant 1859 he was elected to a four-year term as Clay County noise of construction equipment, debris from the stone, Superintendent, but with the outbreak of the Civil War, and blocked-off entrances might seem an inconvenience, he resigned his position and enlisted as a private in the Magee said the School of Music is fortunate to have the Company “F” 98 Illinois Infantry in 1862. With his dedi- building renovated, especially when many other campus cation and leadership he quickly worked up the ranks, buildings need repair. eventually earning the level of Captain. “It’s a beautiful old building with an aura of faded While on the hunt for the Confederate General John glory. I walked into the Memorial Room and it’s a beauti- Hunt Morgan and his raiders in March 1863, Capt. Smith ful space. It’s really getting a shine,” Magee said. “There and his men stopped just east of McMinville Pike in was a guy up on a scaffold painting the ceiling and I Woodbury, Tennessee. Desperately hungry, Smith’s men said ‘Hey, just like Michelangelo.’ I mean, really doing ransacked a nearby home—devouring and stealing all detailed work: this intricate color combination—this of the food in sight. Quickly, the lady of the house ran peach and dusty avocado green and cream and there’s outside to find help. Smith came to her aid, ordering that marble. It’s very striking.” his men out of the home and apologizing to the family. Smith Memorial Hall symbolizes the beginning and It was not long before he noticed a young girl sitting end for School of Music students. It is one of the first on the table with her legs dangling over the side. Her places incoming students go during welcome week for name was Pauline Weedon, but everyone called her Tina orientations and placement exams and at the end of the because of her small stature. Her father had died when Emily Wuchner Chad Wahls

30 sonorities she was two and she lived with her mother and two sisters. Smith tried to start a cheerful con- versation with Tina, but she made it very clear that she hated the Yankees and only loved the rebels. Despite this, Smith was captivated and after giving the family all of his company’s coffee as a peace offering, he asked to stop by again when he was in town. Luckily for Smith, he frequented Woodbury because of the nearby mili- tary happenings, and subsequently paid many visits to the Weedon house- hold. Robert L. Mason, author of the History of Cannon County Tennessee, writes: “Sometimes Captain Smith listened to Tina play the piano and Courtesy of Catherine M . Hawes A costume party attended by the Smiths. sing. Her favorite song was ‘I Dreamt I Dwelt in Marble Halls.’ She did not play or sing well. But Captain Smith thought she could.” Indeed, Smith the remainder of the war. When Smith returned to the recalled in 1916 that: “Mrs. Smith was a great admirer of battlefront, it was well-known that he had secretly left; as music and she was also capable of producing it. Listen- punishment, he was arrested and confined for eight days. ing to her delightful recitals at the piano, on the banjo, When the war ended in 1865, Smith and Tina reunited, or violin was one of my chief delights.” They married moving back to Champaign where they both became January 5, 1864, in Murfreesboro, Tennessee. important figures in the community. Smith resumed his After the wedding, Tina relocated to Champaign to successful law practice, served as Champaign City Attorney live with Capt. Smith’s brother as the war continued, from 1866–68, and was Master in Chancery of Champaign but the young bride grew homesick and moved back Country from 1881–87. He also was appointed to the to Woodbury. Once during the war, they were able to University of Illinois Board of Trustees from 1897–1903, spend a short time together in Nashville, but a nearby including a short term as President from 1901–02. battle made it too dangerous for Tina to safely return to A socialite, Tina hosted soirees in their elegant Cham- Woodbury. According to the story, recounted by Mason, paign mansion. She also served as Patroness of two she boarded a train bound for Champaign. While en University Greek houses: Alpha Tau Omega and Pi Beta route, the train was involved in a horrible collision Phi. However, poor health followed her for the rest of in Jefferson, Indiana; all of the train cars but the one her life. Thinking that the light European air improved Tina rode in burned. It took two days for her to finally her condition, the Smiths frequently traveled to Europe arrive in Champaign, but in the process she grew very where they relaxed and attended many concerts. In 1903, ill. Smith’s family sent letters telling him of the sever- Tina became gravely ill upon arrival back in the States ity of her illness. Fearing the worst, he approached his and died shortly after at the age of 56. She is buried in commanding officer and requested leave. Initially the Mt. Hope Cemetery in Champaign. Colonel said the request was impossible and that Smith Tina’s death devastated her husband, who remained was needed at a nearby battle. After further discussion, devoted to her memory—regularly placing flowers on the Colonel advised Smith to leave in civilian clothes her grave no matter the weather conditions, and he con- with the understanding that he return once Tina was tinued to set her place at the dinner table, according to better. Smith quietly left that evening. the Daily Illini. In 1914, Smith began plans for a public Shortly after Smith arrived home, Tina’s condition memorial to his late wife by funding the construction improved enough for her to go live with her mother for of the Tina Weedon Smith Memorial Hall.

winter 2014 31 Construction Plans the University planned to give the music department offices at the rear of the building; however the $200,000 Smith’s involvement with the School of Music started budget was significantly cut and these plans never materi- with his service on the Board of Trustees. The University alized. The Auditorium’s completion in 1907 did give the offered music programs since its beginnings, but instruc- music department a facility to hold concerts, but the hall tors received no regular salaries and were paid based on became quickly infamous as a “veritable echo chamber.” fees collected from students. In 1892, Professor T.J. Burrill This problem, unfortunately, was most apparent at the recommended including music in the regular system of facility’s dedication ceremony. A listener at the event instruction; the Board of Trustees gave $300 to establish recounts the inaugural concert, which featured works by the department in 1895. When Smith was appointed Edward MacDowell, with the composer present: “During to the Trustees in 1897, he proposed a resolution to the dedication, the Auditorium was found to have a reorganize the department, making it a distinct college fantastic echo. Not only did the audience hear echoes of the University. He recommended hiring a dean with and long reverberations, but the speaker heard his own assistants to run the program, conferring degrees and echo. . . . On one occasion, the University Band played a diplomas, and argued that the University should not piece which featured a xylophone solo accompanied by charge music students more tuition than others. It was other instruments. It so happened that the leader heard his idea that all students interested in pursuing a career the echo more strongly than the direct sound and kept in music should have that opportunity. The Trustees in time with it. Players near the xylophone kept time to approved his recommendations in 1900. the direct sound, while those farther away followed the During these years, the music offices and classes were echo. The concert, needless to say, was a disaster.” held in the basement of University Hall. With the con- This made Smith’s gift even more timely and paramount. struction of the Auditorium (now known as Foellinger)

Smith Hall Timeline 1900 1910 1920 1930 1940 1950 1960

1903 1914 1922 1930 1944 1953 Tina Weedon Money Completion Proposed Memorial Basement updates Smith dies in donated and dedication extension to the Room including adding Champaign to the of Smith building; denied opened as a 244-seat lecture University Memorial Hall by the Trustees the Music room by Capt . Library 1919–20 Thomas J . Work delayed Smith due to Chicago carpenters’ strike 1916 Ground­ 1918 breaking Death of Capt . Smith; work begins on the interior of the building

1917 Laying of the Cornerstone; Survey sent to collect

composer names for the Hawes . M Catherine of Courtesy building’s exterior

School of MusicArchive 32 sonorities “Music is something that no one has offered a suitable additional funding supplemented by the University. At definition for. Music is the best expression of the the time, Smith’s donation was the largest gift made by an Illinois citizen to the University. In addition, the will of God in man. Music is not of human origin, Board approved funding four undergraduate scholar- but of the divine.” ships for young women, known as the Thomas J. Smith —Capt. Thomas J. Smith Scholarships in Music. In June of 1916, University officials determined the In 1914, Smith approached the University about site of Smith Hall—located on South Matthews Ave.— constructing a music hall in memory of his wife, to cost which would ultimately serve as the cornerstone of the no less than $200,000. In his June 8, 1914 letter to the Main Quad, and by October, they authorized construc- Trustees he writes: “While I am in no sense a musician, tion. James M. White, a professor for 43 years and the there is nothing dearer to my heart than the develop- University architect remembered for overseeing work ment of music. It is the greatest thing in the world and on Altgeld Hall and Memorial Stadium, supervised the contributes more to the happiness and pleasures of people project. than anything within my knowledge, aside from the nec- When complete, Smith Hall would house all of the essary living expenses of human beings.” As payment, resources necessary for a functioning School of Music. he deeded to the University all of his farmlands –total- The preliminary plans included a music hall that could ing in 775 acres—to be sold with the proceeds funding seat 1,100 people with room for 150 on the stage, a construction. In turn, the University would pay him director’s suite (which included office space, a parlor, a slated income based on the value of the farmlands. and practice room), a library, nearly 20 studios, two The total contribution from Smith was $215,000 with classrooms, a lecture hall seating 200 people, and more

1970 1980 1990 2000 2010 2020

1996 1999 2013 Smith Memorial Basement Renovation Hall placed on upgraded Phase I the National and begins

Historic Registry remodeled

Subject File, 1868- , RS 39/2/20 RS , 1868- File, Subject Courtesy of the University of Illinois Archives, Photographic Photographic Archives, Illinois of University the of Courtesy

Thomas Smith Emily Wuchner Emily

Construction 1915: Courtesy of the University of Illinois Archives, Building Photo- graphs, 1868-2000, RS 24/5/14 winter 2014 33 than 40 practice rooms. The practice rooms would be “The donation of this wonderful facility tells a story fully soundproofed—a relatively new, state-of-the-art tech- of dedication, giving, and an appreciation for music. nology at the time. The building would also include two elevators: one for freight and the other for the public. It was Thomas Smith’s intention to make sure that On November 9, 1917, the University held a corner- music was a prominent part of the University of stone laying ceremony at the University Auditorium. Illinois for all future generations.” The Daily Illini reported that the gift and event were —David Allen, Associate Director of Development particularly significant as they came during WWI; the School of Military Aeronautics and the officers in the of the Auditorium (also in Beaux Arts Style), including Student Brigade occupied many ground floor seats. The the height of the columns and some of the trimmings, ceremony included addresses by Smith, the University but the ornate inscriptions and carvings make Smith President Edmund J. James, and School of Music Director Hall one of the most elaborate buildings on campus. J. Lawrence Erb, who said: “The gift of Captain Smith Visual references to music on the façade and even on bids fair to mark an epoch in the history of musical the light posts clearly illustrate the building’s purpose. education throughout the world. Music is coming into Prominently written above the main entrance are lines its own as a part of the everyday life. People who never written by English poet William Cowper in his poem The sang before are singing now. In these times the nation is Task: “There is in souls a sympathy with sounds; and, finding its soul and coincidently its voice. Captain Smith as the mind is pitch’d the ear is pleas’d with melting has builded better than he knew.” At the ceremony Erb airs, or martial, brisk or grave: Some chord in unison performed organ solos, the University Chorale Society with what we hear, is touch’d within us, and the heart sang choruses from Haydn’s Creation and Handel’s Messiah, replies.” Further embellishments were planned, but and violinist Frederick W. Spencer performed Legende by never materialized due to lack of funding. The two Polish composer Henryk Wieniawski, at Smith’s special blank stone panels on the front of the building were request. Culminating the evening, Smith placed the to have sculptures representing vocal and instrumental cornerstone, inscribed with the date 1917, on the lower music. Above these panels would be four allegorical corner of the building. He said placing the stone was characters to represent four different types of music. “the happiest moment of (his) life.” One of the most striking features of the exterior are the Originally the building was set for completion in 1918; four composer names—Bach, Beethoven, Haydn, and however progress slowed, which troubled Smith, whose Palestrina—on the front and sides of the building. In health was rapidly deteriorating. While contractors March 1917, University President Edmund J. James sent tried to hurry the construction so Smith could see the a survey to more than 4,000 musicians, instructors, and completed structure before his death, it was impossible. music professors throughout the country asking them to Smith died on April 16, 1918 at age 82 in a sanatorium in suggest the names of influential composers for inscrip- Battle Creek, Michigan. His body was transported back tion both on the interior and exterior of the building. to Champaign for burial. The plans originally included a name at each side of the By 1918, crews completed the exterior concrete work, main entrance with space for eight additional names and the façade was designed in the Beaux Arts Style, which below. Panels on each side of the proscenium in the took inspiration from French Classical architecture. This Recital Hall would hold no more than 30 names total. style was featured at the 1893 Chicago World’s Fair and By April 1917, 600 replies were returned with 99 percent greatly influenced both James White and future campus of the responses suggesting Bach and Beethoven. Other buildings. Up to the early twentieth century, many of the names mentioned include Palestrina, Haydn, Wagner, buildings on campus were designed in the Georgian Style, Schubert, Mendelssohn, Mozart, Berlioz, Tchaikovsky, especially characterized by the use of deep-red bricks, and Stradivarius, and Liszt. Some responses said no German which resemble structures on colonial college campuses composers should be considered, while others suggested such as Harvard. In this respect, the exterior of Smith including the mythological gods of music—such as Apollo Hall is particularly striking when pitted against nearby and Isis. Budgetary reasons ultimatley prevented adding buildings. Aspects of Smith Hall’s exterior match that more names.

34 sonorities Construction crews started work on the interior of History department due to a space shortage. Affectionately the building in 1918, which would be just as elaborate called the “fishery museum” by the night janitor, the room as the exterior. Perhaps the most well-known room is the held stuffed fish and birds, fungus growths, restoration second floor Memorial Room with its walls and ceiling models of Aztec villages, and six caskets of unmounted adorned with carefully crafted and painted patterns. oxen and caribou. In 1932 the paper ran a short article The two marble fireplaces on opposite ends of the room on the “haunted elevator” with no ghost—referring to bear the Smith Memorial Hall insignia: SMH. Above the the public elevator near the back of the building that mantles were once portraits of the Smiths, now hanging crews never completed and now serves as storage. in either stairwell outside the room. University officials In the early twentieth century, Smith Hall had enough once considered hanging portraits of architect James room to house a fully functioning School of Music. As White and University President Edmund James there, more students enrolled, the need for expansion was clear. as well. According to Nina Rubel, a few later additions Already, houses on campus were used as annexes for were made including the oriental rug donated by Uni- theory, musicology, and other divisions. In 1947, acting versity President John Corbally and his wife (which was School of Music Director Duane A. Branigan requested once appraised at $15,000–20,000) in the 1970s. The updates to the basement to provide more room for chandeliers were donated in 1984 in memory of music student activities. This included removing the “fishery professors Dorothy Clark Gunsalus and Grace Elizabeth museum” and adding a 244-seat lecture auditorium Wilson. (now Room 25), completed in 1953. That same year, Work progressed smoothly despite the two-month the west façade was constructed to enable easier access delay in 1919–20 due to the carpenter’s strike in Chicago. to the basement level. Over the years, Smith Memorial This slowed the arrival of artificial stone for the interior Hall has entertained patrons with diverse musical per- detailing. The facility was virtually complete in time for formances and lectures by well-known artists including the dedication in 1922, save for finishing touches in the Igor Stravinsky, Leopold Stokowski, John Cage, Harry interior decorating and the installation of the organ. Partch, and Aaron Copland. It served as the main music Funds bought a new Steinway piano and a Duo-Art facility until it was superseded by Krannert Center for piano, allowing performers to record pieces onto rolls. the Performing Arts in 1969 and the current School of The total cost of the construction, including furnishings, Music building in 1972. was approximately $462,625. From April 27–29, 1922, School of Music Director The Smith Legacy Frederic Benjamin Stiven organized a three-day Spring After nearly 100 years, the School of Music continues Festival of Music, which included four concerts and to honor Captain Smith’s legacy through revitalization the dedication ceremony. The concert series opened efforts, by assisting students financially, and by finding with the University Orchestra under the baton of A.A. ways alumni can also be a part of the legacy. Harding. Two subsequent performances featured the St. As part of his agreement with the University, Smith Louis Symphony conducted by Rudolph Ganz, making requested a scholarship fund for undergraduate female its Champaign-Urbana debut. Following the afternoon music majors who reside in Illinois, known as the Thomas dedication, the St. Louis Symphony, and the University J. Smith Scholarship. These awards are some of the most Chorale Society performed Scenes from the Song of Hiawatha prestigious given by the School of Music. Each year, stu- by Samuel Coleridge-Taylor. dents are nominated by faculty members to participate in In 1930 an addition was planned to the back of Smith the competition during the spring semester. The winners Hall, extending towards the Auditorium. This added space are awarded a full tuition waiver for the remainder of would house the band room and extra practice rooms; their time at the University that also works retroactively, however the plans fizzled due to the Great Depression meaning a student can receive reimbursement for tuition and stock market crash. paid during the first semester of the school year. J. Michael Like any historic building, Smith Hall is not without its Holmes, director of Enrollment Management, said nor- quirks. In 1922, the Daily Illini reported that a basement mally 15 to 25 applicants compete while only two to six room was being used to store items from the Natural new recipients are selected for the scholarship, though

winter 2014 35 this depends on how many women are already funded. II of Smith Hall—totaling in $10 million—are paid for At any given time, six to eight female students are sup- by University funds, any additional money earned goes ported by the Thomas J. Smith Scholarship. directly to support students. “It’s one of my favorite scholarships; it’s a really amazing Allen said this project is crucial to help students offset award that we have. It’s a really high talent level of people the ever-rising costs of tuition. Many of the scholarships who get awarded this,” he said. available through the School of Music were created when Morgan Lanahan, senior in Music Education, won the tuition was less than $2,500 annually for in-state under- Smith Memorial Scholarship as a junior in Spring 2013. graduates, but now these costs are reaching $13,000. A saxophonist, she competed both her sophomore and “Building our scholarship base is a top priority for the junior years. School of Music,” Allen said. “Success in this area will “My love for performing increased so much because affect all areas of study within the Music School. It will I got a really good confidence boost from the Smith also help the School’s ongoing need for us to be able to Competition. I want to play even more now because I compete with peer institutions for top student recruits.” feel like I’m a good player,” she said. The current construction project on Smith Hall has Not only does the Smith Memorial Scholarship help inspired a renewed interest in the facility and a desire current students, but it also serves as a recruitment tool, to both continue the legacy of the building and Smith’s Holmes said. Incoming students not initially funded passion for music and students. As the heart of the could potentially earn a tuition waiver later. School of Music, all music students find themselves in But the Thomas J. Smith Scholarships only help a the building at the beginning and end of their tenure at handful of students, and School of Music administrators the University of Illinois. School of Music officials find it recognize the importance of continuing Smith’s ambi- extremely important to maintain this connection. With tions: helping students fund their education and sharing this fundraising strategy, alumni can show their apprecia- music. Associate Director of Development David Allen tion for the School of Music and leave their own legacies initiated a fundraising plan that would combine these for the generations that follow. goals by earning more money for student scholarships, “Everybody who comes through there for Commence- while simultaneously making alumni a part of Smith ment will see the names of the donors,” Jeffrey Magee Hall history. said. “It’s relationship building that connects our present, “The donation of this wonderful facility tells a story past, and future.” of dedication, giving, and an appreciation for music. It For Bob Stiehl, that relationship has lasted for nearly was Thomas Smith’s intention to make sure that music 60 years. From discovering his love of music as a student was a prominent part of the University of Illinois for all to retiring after decades of service, Smith Hall marks the future generations,” Allen said. “Our reputable music beginning and end of his tenure at the School of Music. programs and the great heritage of music at the University Thanks to the renovations and Smith Memorial Legacy of Illinois were born in part out of this important gift.” Project, the building will continue to play a vital role The Smith Memorial Legacy Project consists of a in the future of the School of Music for years to come. number of naming opportunities within Smith Hall that are open to potential donors. By giving a set sum of money, donors can have their names associated with Special thanks to William Maher and the University various rooms in Smith Hall. For example, $5,000 will Archives for providing assistance in accessing the infor- sponsor one of the practice rooms on the third floor, mation necessary for this article as well as Associate or for $500, a donor could sponsor a seat in the Recital Professor Paul Hardin Kapp and his Architecture 419 Hall. Future naming opportunities may include the students for sharing their research. Other information Room 25 lecture hall, instructional studios, and the on this facility was found in A Sympathy with Sounds: A brief Recital Hall itself. Donors will have their names engraved history of the University of Illinois School of music to celebrate on plaques, which will be placed on the outside of the its centennial by Ann L. Silverberg, Heartland Beat by Nina Rubel, History of Cannon County Tennessee by Robert L. room or, in the case of the Recital Hall seats, on the seat Mason, and the Daily Illini digital archive. back. Since all of the construction costs for Phase I and

36 sonorities faculty news new faculty

—compiled by Emily Wuchner, Associate Editor

Janet Barrett Christopher Michael Silvers (Music Educa- Macklin (Musicol- (Musicology) tion) was appointed ogy) joined the Musi- joined the Musicol- as the Marilyn Pfle- cology faculty as an ogy faculty as an derer Zimmerman assistant professor in assistant professor Endowed Scholar in Fall 2013 . He earned in Fall 2013 . Previ- Music Education in his bachelor’s degree ously he held teach- Fall 2013 . She earned from Oberlin College ing appointments at her bachelor’s and and completed all of UCLA and UC Riv- master’s degrees from the University of his graduate work at the University of York erside . A 2012 graduate of UCLA, his Iowa and her Ph .D . from the University in the UK . His research focuses on the dissertation looked at the ways class, of Wisconsin–Madison . Barrett’s teach- use of music during the European plague migration, and drought inspired music ing experience ranges from instructing epidemics of the fourteenth and fifteenth in northeastern Brazil . Other research elementary and middle school students centuries . Currently, he is working on a interests include music and the envi- in both public and private schools to monograph—Music in the Shadow of ronment (ecomusicology), music and teaching courses at the university level . the Plague—which expands his disserta- technology, musical sustainability, and Previously she worked on the faculty of tion research while also exploring how sound studies . His work has been funded the University of Wisconsin-Whitewa- this repertoire informs popular music- by Fulbright-mtvU and the UCLA Latin ter and was associate professor at the making in the late Middle Ages . Other American Institute, and his writing has Northwestern University Bienen School of research interests include the connection appeared in Vibrant: Virtual Brazilian Music . Barrett’s research interests include between speech and song in medieval Anthropology and the Yearbook for Tra- the reconceptualization of the music epic and lyric poetry, the place of music ditional Music, where he is an assistant curriculum, secondary general music, in medieval and early modern intellectual book review editor. He is a member of interdisciplinary approaches in music, culture, and music’s intersection with the editorial board of the Ecomusicology and music teacher education . She has memory and cognitive neuroscience . Newsletter and is the assistant editor for published several books including Sound Macklin is working with the Program the Yearbook for Traditional Music’s “Book Ways of Knowing: Music in the Inter- of Medieval Studies on the “Performing News ”. In May he was a panelist at the disciplinary Curriculum; Looking In On the Middle Ages” and is organizing a Chicago Symphony Orchestra’s Rivers Music Teaching; Constructing a Personal choir, which highlights repertoire from the Symposium, which was part of the music Orientation to Music Teaching; and Music Middle Ages and Renaissance . His work and rivers festival . Future plans include Education at a Crossroads: Realizing the is published in journals including Early writing a historical book on Brazilian Goal of Music Education for All. She is Music, Early Music History, the Journal music and the environment, looking in the immediate past chair of the Society of the Royal Musical Association, and particular at contributions by Heitor Villa- for Music Teacher Education and edits the Contemporary Music Review. His Lobos and Gilberto Gill . He also hopes the Mountain Lake Reader . Beginning vocal talents are featured on recordings to further his research on the drought in this year she will serve as the editor of published by the Basho, NMC, and Boreas northeastern Brazil . the Bulletin of the Council for Research labels . Previously, Macklin taught for five in Music Education . years at the Mercer University Townsend School of Music in Macon, GA .

winter 2014 37 faculty news faculty milestones I Ketut Asnawa (Musicol- Christina Bashford (Musi- ogy) instructed elementary, cology) was recently middle, and high school appointed as Assistant Faculty Promotions: students at clinics through Director for Graduate Erik Lund, promoted to Professor the Center for World Studies . She contributed Lawrence Gray, promoted to Associ- Music’s outreach program . an essay to The Art of Lis- ate Professor with indefinite tenure He taught Gamelan at Miami University tening: New Approaches to a History of of Ohio and Illinois Wesleyan University . Music Listening, 1800-2000, edited by Staff Promotions: He performed for the Indonesian Perform- Christian Thorau and Hansjakob Ziemer . David Allen, Associate Director of ing Arts of Chicago and the Music and In April she was elected Vice-President Development Dance festival at Ohio University . He of the Midwest Victorian Studies Associa- composed three new works for two dif- tion . In June she travelled to Cardiff, UK, Retirements: ferent types of Balinese Gamelan . to deliver a paper entitled “English String Fred Stoltzfus, Emeritus Professor Orchestra Music as Cultural Phenomenon” Robert Stiehl Charles Reid Alexander at the Music in Nineteenth-Century Britain (Piano Pedagogy) recently conference . She presented at the American returned from Korea where Musicological Society Conference and he gave the Keynote Speech tives,” conducted summer fieldwork in responded to a panel at the German Studies “How Professional Associa- Bulgaria, and received a Scholar’s Travel Association Conference . tions Impact Our Musical award and a European Union Center Future” at the 2013 annual meeting of Louis Bergonzi (Music Faculty Research Grant to develop a new the Korean Association of Piano Pedagogy . Education) chaired the course on music and postsocialism in the He gave lectures and recitals at universi- Second Symposium on new Europe . Her review of Carol Silver- ties in both Korea (Sookmyung Women’s LGBT Studies in Music man’s Romani Routes: Cultural Politics & University, Yonsei University, Suwon Uni- Education at the University Balkan Music in Diaspora (Oxford, 2012) versity) and Taiwan (Tainan University of of Illinois, which saw a 38 will appear in Romani Studies . She con- Technology) . He was asked to serve as percent increase in registration from 2010 tinues to direct and perform with the Associate Editor for the English version and included participants from 32 institu- ensemble, Balkanalia, serves on the of The Korean Dalcroze Journal . His book, tions throughout the US and Canada . He Russian, East European, and Eurasian Piano Repertoire Guide: Intermediate and presented his research “Instructional Center Executive Committee and as book Advanced Literature (Stipes, 2011) is being climate in secondary school music class- review editor for Ethnomusicology, and translated into Korean for future rooms reported by engaged music students: also serves on the editorial or advisory publication . a comparison of school and music camp boards of Bulgarian Musicology, Bulgarian settings” at the Eighth International Folklore, and the American Research Janet Revell Barrett (Music Research in Music Education Symposium . Center, Sofia . Education) co-edited a He provided the keynote address at the book with Peter R . Webster, Michael Cameron (Strings) Florida Orchestra Directors Association The Musical Experience: continued work on The conference and gave clinics at the annual Rethinking Music Teaching Sonata Project, a multi-year convention of East Asia Regional Council and Learning, which will initiative to research exist- of Schools in Shanghai . He also conducted be released this year by Oxford University ing sonatas for double bass the first ever California Junior All-State Press, and also completed two chapters and piano, while also com- High School Orchestra . for the forthcoming Oxford Handbook missioning new works in this genre . He of Qualitative Research in American Music Donna Buchanan (Musi- gave the American premiere of Wolfgang Education . This fall, she gave a keynote cology) delivered invited Wagner’s Sonata and received two grants address at the Greensboro Symposium papers at the University of for new sonatas by Lita Grier and Stacy on Music Teacher Education, “Examining Chicago and the University Garrop . He premiered Walking on a Tight- Conceptions of Music Teaching,” as well of Illinois . She designed rope for solo bass by Yao Chen, winner as a session on music teacher preparation and taught a new graduate in 2012 of a Fromm Foundation Grant . for the College Music Society . seminar, “Performance & Performativity He performed the Wagner sonata, the in Practice: Ethnomusicological Perspec- Chen work and the premiere of the Grier

38 sonorities Sonata in June 2013, at the International Barrington Coleman 2013 production of the chamber version Society of Bassists conference at the organized the fall visit of of Daniel Catán’s Rappaccini’s Daughter . Eastman School of Music . Additionally, guest artist and composer He conducted the Mexican Premiere of he remained active in the publishing Adolphus Hailstorck to Lukas Foss’ Renaissance Concerto for industry through new editions to the campus to give clinics, flute and orchestra with the Guanajuato BassScores catalog as well as contributing master classes, and present Symphony Orchestra and he guest con- recording and concert reviews to Fanfare his oratorio Done made my vow . ducted the Michoacán Symphony Orches- magazine and Chicago Classical Review . tra in its premiere of Darius Milhaud’s Charles Daval (Brass) Two of his writings were cover articles Clarinet Concerto . He was invited to performed with the Pitts- for the Ravinia Summer Festival Program . complete the orchestration for Carlos burgh Orchestra and Ballet Chavez’s Jarabe (1922) for piano, which Tito Carrillo (Jazz) con- Orchestras and with the was left unfinished . He also received a tinued to promote his criti- Grand Teton Festival commission to finish Daniel Catán’s opera, cally acclaimed debut Orchestra in Jackson Hole, Meet John Doe. He was recently hired recording as a band leader, WY . as Chief Conductor of the orchestra and titled Opening Statement John Dee (Woodwinds) Chair of the Conducting Program at the (Origin Records) this past recorded his most recent University of Sydney (Australia) . summer, through headlining performances CD in the Krannert Center in Urbana and at the Chicago Jazz Festival . Timothy Ehlen (Piano) for the Performing Arts with He also performed with the Chicago Afro- continued his recording bassoonist Timothy McGov- Latin Jazz Ensemble, The Larry Gray Sextet, project of the Complete ern and pianist Cara and The Ryan Cohan Sextet, which Piano Sonatas of Beethoven, Chowning, to be released internationally included recording Cohan’s suite, “The under contract with Azica by Albany Records He. participated in River,” released in the summer of 2013 Records . The first six the eighth annual ISYM Double Reed on the Motema label . Carrillo was a guest volumes (of eight) are finished and have Week, which brought many oboe and artist at the Mid-West Trumpet Festival at received critical acclaim . He performed bassoon students from across the country Pittsburg State University in Pittsburg, KS Beethoven’s “Emperor” Concerto with to campus . He was featured on the front and at the Jazz Dialogues Festival at Eastern the UI Symphony and Beethoven’s Piano page of Postmarks and Inside Illinois with Washington University in Cheney, WA . Concerto No . 4 with the UI Philharmonia the article, “Making Music with a Microm- Orchestra . The Ehlen-Tai Piano Duo (with Elliot Chasanov (Brass) eter,” which highlighted the importance Yu-Chi Tai) performed at Indiana Univer- was the featured trombone of reeds and reed making in the lives of sity’s Jacobs School of Music, Krannert artist/clinician on brass days UI double-reed students . He served as Center, the Kent State University Keyboard at both Kutztown University principal oboe with several university Series, Cleveland-Akron Steinway Hall, in Pennsylvania and Uni- affiliated and non-affiliated professional and the University of Texas Piano Festival versity of Evansville in organizations including Sinfonia da at UT Pan-American in Edinburg, TX . The Indiana . Camera, the Champaign-Urbana Sym- duo is preparing its debut CD with Azica phony, Heartland Symphony and Illinois Cara Chowning (Opera) Records . Ehlen’s book chapter, “Genre Symphony Orchestra . performed a series of References in Beethoven Sonatas,” chamber music recitals for Eduardo Diazmunoz appeared in The Pianists Craft: Mastering piano and winds in New (Opera) guest conducted the Works of Great Composers, published York and at the Internac- ensembles throughout by Scarecrow Press . cional Mitad del Mundo Mexico, including the Ricardo Flores (Percus- Festival in Quito, Ecuador in May and National Autonomous Uni- sion) taught and performed June 2013 . During the festival in Ecuador versity of Mexico’s Philhar- at the Crossdrumming Fes- she taught piano master classes for high monic Orchestra . In April, his work for tival in Kolbuszowa, Poland school, college, and professional pianists Oboe and Violin, Dos Miniaturas Stravin- in July 2012 . The two-week from Ecuador and Columbia . The festival skianas (composed in 1984-1985) received event included clinics, is a week-long event which brings inter- its world premiere in Mexico City . He master classes, and performances with a national musicians to Quito for perfor- served as counselor and advisor to New diverse group of participants . Flores par- mance, collaboration, and teaching . York City’s Gotham Opera for their June

winter 2014 39 faculty news

ticipated in an All-Star Steel Band, made the Center for South Asian and Middle she, along with husband Nathan Gunn, up of professionals and educators from Eastern Studies and other campus orga- served as artists-in-residence at the Glim- throughout the world . The band performed nizations . She participated in the making merglass Festival . They performed multiple at the Percussive Arts Society International of a documentary film dealing with the recitals and coached students from Convention in Austin, TX in November music of the new Arab revolutions . throughout the world . They also performed of 2012 . While on sabbatical during the in a recital with the Pacifica Quartet at Lawrence Gray (Jazz) spring semester, he traveled to Cuba to Zankel Hall in New York, which included performed in several study percussion, drum set, and musical a premiere of Jennifer Higdon’s setting of ensembles at this year’s culture . the Whitman poem, Dooryard Bloom, as Chicago Jazz Festival: The well as four songs Julie Gunn arranged Erin Gee (Composition/ Larry Gray Trio, a big band for the group . Her arrangements of Ameri- Theory) began production tribute to the late Ken can songs have been performed at the of a portrait CD on the col Chaney, a collaboration with multi-instru- Kennedy Center and at Symphony Center legno label, supported by mentalist and exponent of the iPad David in Chicago . an Aaron Copland Grant Cain and Grammy Award winning for Recording . She received drummer Paul Wertico, and in an opening Nathan Gunn (Voice) three commissions: a piece for saxophone night performance with jazz drummer maintained an active per- and percussion (for the National Saxo- Jack DeJohnette’s Special Edition Legends . forming schedule this year, phone Conference at UI in March), a new This concert also featured seminal AACM appearing with the Metro- work for the Austrian New Music Series, artists Muhal Richard Abrams, Henry politan Opera, San Fran- Cercle—Konzertreihe für Neue Musik (for Threadgill, and Roscoe Mitchell . Gray cisco Opera, Dallas Opera, premiere in Vienna), and a new work for was featured on a DVD by Wertico, Cain, and others, and with a return engagement the Unter 4 Ohren concert series (for and Gray as well as on a new recording at Theater an der Wien in the fall . He performance by members from Ensemble by the Grammy winning harmonica and debuted three new song cycles, a new Chronophonie in Freiburg, Germany) . piano virtuoso Howard Levy . work for orchestra and voice, and two She contributed the chapter, “The Nota- new operas by Marc Adamo and Iain Bell . Joyce Griggs (Executive tion and Use of the Voice in Non-semantic He continues to collaborate with Broadway Administration) received Contexts: Phonetic Organization in the artists including Mandy Patinkin and Kelli a Creative Research Award Vocal Music of Dieter Schnebel, George O’Hara, with whom he appeared in a to record and produce 13 Aperghis, and Brian Ferneyhough” for concert version of Rodgers and Ham- chamber works by Percy the book Vocal Music and Contemporary merstein’s Carousel with the New York Grainger for saxophone Identities (Routledge Press) edited by Philharmonic Orchestra, singing the role consorts . During the 2012–13 academic Christian Utz and Frederick Lau . Her of Billy Bigelow . In September 2012, he year, she was an invited presenter at the music was featured on the radio show, was appointed Director of the American National Association of Schools of Music “Music from Other Minds,” broadcast on Repertoire Program at Opera Philadelphia, annual meeting and at the North American KALW San Francisco . In April, she was a program dedicated to promoting new Saxophone Alliance Region 5 guest composer for the Midwest Graduate works . Conference . Music Consortium at the University of Rudolf Haken (Strings) Chicago, where she performed her work, Julie Gunn (Accompany- has remained active as both “Mouthpiece: Segment of the 3rd Letter ing) was appointed to Assis- a performer and composer, and Mouthpiece I ”. tant Director for and toured the Midwest, Development and Public Lillie Gordon (Musicol- stopping in Michigan, Illi- Engagement . As a member ogy) is finishing her dis- nois, and Tennessee . In of the National Advisory sertation entitled “Egyptian September 2012 his solo violin work Council, she arranged events in the Violinists: The Negotiation Faust was premiered in Chicago by Rachel Chicago area to engage these constituen- of In-Betweenness ”. This Barton Pine, who commissioned the work cies and foster the relationship between year she presented her work as part of an effort to bring heavy metal the UI with Midwest Young Artists, After- at scholarly conferences including the influence to acoustic violin music . In May School Matters, Ravinia, and ChiArts . She Society for Ethnomusicology’s annual 2013, he toured Germany, France, and continues to serve as Director of the School meeting, and invited presentations for Italy giving recitals and master classes of Music Academy . During the summer

40 sonorities faculty publications during . In July he served as a faculty member and guest artist at the Festival Internacional de Musica Erudita de Pri- Wagner’s ‘Parsifal’ by William Kinderman; Oxford acicaba in Brazil . University Press, 2013. William Kinderman examines issues of compositional genesis, musical analysis, and the J. David Harris (Wood- ideological and political history of Wagner’s last work, Parsi- winds) was appointed to fal . In examining many manuscript sources, Kinderman the ARIA International reveals connections to Wagner’s compositional models Summer Academy in July . and his own earlier works, while placing the meaning of In May 2013 he was a guest the drama in a new perspective . The book explores the artist and clinician at the complex issues of reception surrounding the opera as Great Falls Clarinet Day in Great Falls, well as the connection of the composer’s heirs and family to the later rise of MT . National Socialism in Germany . Kinderman explores how Wagner’s approach Dawn Harris (Voice) sang to politics during the 1849 revolution at Dresden differs from his family’s later the role of Ruth and involvement with National Socialism . The book has already received much directed the production of critical acclaim and was billed as “The best of the bicentennial books that I Pirates of Penzance at the have examined” by Marion Lignana Rosenberg of WQXR Operavore . Allerton Music Barn Festi- val . She revised her role as Becoming an Ethnomusicologist: A Miscellany of Illona in Game of Love, featuring music Influences by Bruno Nettl; Scarecrow Press, 2013. by Jacques Offenbach, and premiered Bruno Nettl’s latest book, Becoming an Ethnomusicologist: scenes from Love Games with music by A Miscellany of Influences, highlights his life and education Joseph Turin, at Krannert Uncorked . An specifically focusing on the individuals and childhood active clinician, she taught voice master events that influenced him . It discusses monumental classes at Glenbard East High School and events throughout his career including his childhood in Dundee-Crown High School, both located Czechoslovakia, his family’s forced departure in 1939, in the western suburbs of Chicago, as his settlement in the United States, and his decision to well as Great Falls High School in Montana . become a scholar . Along the way, eleven influential She was invited to present a workshop individuals helped shape his decisions and change his life—some of whom on “Acting for Singers” at the Summer include his father, musicologist Paul Nettl, his doctoral advisor George Herzog, Vocal Seminar at Northwestern and two musicians who also served as visiting professors at the University of University . Illinois in the late 1960s, Nour-Ali Boroumand (from Iran), and S . Ramanathan Ricardo Herrera (Voice) (from India) . The book also reaches topics such as the struggles of Jewish and performed extensively in German minorities in Bohemia during the early 20th century, the experiences 2012 including the baritone academic refugees had in the US during WWII, and the germination of the solo in Beethoven’s Ninth field of ethnomusicology . Symphony with Sinfonia da Camera, the role of The Keyboard Works of Leopold Kozeluch Pirate King in Pirates of Penzance, and recorded by Rochelle Sennet; Mark Records, was the bass soloist in J .S . Bach’s Cantata, 2013. Professor of piano Rochelle Sennet, Sonia Lee, BWV 21, “Ich hatte viel Bekümmernis” and the Classical Chamber Players issued the modern at the Allerton Music Barn Festival . He premiere recording of keyboard works by Bohemian was the director of Opera Studio’s “A composer Leopold Kozeluch . Tracks include the Celebration of Daniel Catán and his Concerto No . 2 in B-flat Major, Rondo Concertino Operas” at the Krannert Center for the No, 9 in C Major, and Sonatas 1–3 for Four Hands . Performing Arts . In 2013 he stage directed the UI Opera production My Fair Lady and sang the role of Jesus in J .S . Bach’s St. Matthew Passion at the Krannert Center .

winter 2014 41 faculty news

Joan Hickey (Jazz) residencies at Alice Tully Hall in New the lecture on “Wagner’s ‘Parsifal’ as Art appeared as a guest artist York City, Jordan Hall in Boston, the and Ideology ” . This talk was reprised in throughout Illinois, with Mondavi Center in Davis, California, June at the Hebrew University in Jerusa- featured performances in Spivey Hall in Atlanta, Schloss Esterházy lem . As a pianist, Kinderman performed Evanston, Fox Valley, and in Austria, and Cork Chamber Festival in Beethoven’s Diabelli Variations at several at Midwest Young Artists, Ireland . The quartet will be guest faculty universities and concert series from Michi- where she taught Lang Lang scholars and featured performers at the Aspen gan and North Carolina to Munich, Israel, about jazz . She is also active as an advisor Music Festival, Madeline Island Chamber and New Orleans . He edited a special to the American Pianists Association . Festival, Great Lakes Chamber Festival, double issue of the Journal of Musicologi- Rockport Festival, and Maverick Concert cal Research devoted to “New Beethoven J. Michael Holmes (Admin- Series, as well as fulfilling roles as visiting Research ”. His essay “Genetic Criticism istration, Woodwinds) was faculty at Oberlin College and Adelphi as an Integrating Focus for Musicology featured on the album The University . They presented many guest and Music Analysis” appeared in the SORI, which was released lectures and master classes, including at Revue de musicologie. His current research in September 2013 on the Lawrence University, Middlebury College, focuses on the genesis of Wagner’s Die Aucourant Record Label the University of Connecticut, UC Davis, Meistersinger and the collaboration and features compositions by Kyong Mee and SUNY Buffalo . The quartet has com- between Johannes Brahms and his artist Choi (D .M .A . ‘05) . missioned works from Mark Adamo, friend Max Klinger . Barry L. Houser (Band) Hannah Lash, and Sidney Boquiren . Dmitry Kouzov (Strings) directed the Marching Illini Jonathan Keeble (Wood- presented more than 40 who performed for the winds) appeared with the solo and chamber music season opener of the Chicago Symphony performances, including Chicago Bears at Soldier Orchestra,Yo Yo Ma, and the world premiere of Field, the Bands of America Renee Fleming as part of Movements for Cello and Super Regional in Indianapolis at Lucas Mayor Rahm Emmanuel’s Orchestra by Pulitzer Prize-winning com- Oil Stadium, for the WNIT in Champaign, Arts Initiative for the city of Chicago . He poser George Walker with Sinfonia da and the NCAA in Austin, TX . He served performed with the Kansas City Symphony Camera . He performed as a soloist with as one of the directors for the Macy’s and as principal flute with Sinfonia da the St . Petersburg Academic Symphony Great American Marching Band and was Camera . As part of the Aletheia Duo, with Orchestra, St . Petersburg Philharmonic, also guest conductor of the District 214 harpist Ann Yeung, he toured Europe, the St . Petersburg Symphony Orchestra, Honor Band Festival, Pana Area Honor performing in Basel, Switzerland and and at the Moscow Conservatory . Other Band Festival, Big Northern Conference Como, Italy . Their recent CD, Song of the appearances were at international festivals Honor Band, and Virginia All District Black Swan, continues to receive high in Russia and the United States . His recent Band in Richmond, VA . He was chair of acclaim . He presented solo, chamber CD releases include concertos by Shosta- the North Central Division for the National concerts, and master classes at Rice Uni- kovich, Hickey, and Walker on the Delos Band Association, Governor of the North versity, University of North Texas, Uni- and Albany recording labels . Central District for the National Honorary versity of Wisconsin, Baylor University, Fraternity of Kappa Kappa Psi, Faculty Eric Lund (Composition- and University of Minnesota . He partici- Advisor for the Illinois Chapter of Phi Mu Theory) visited Seoul, South pated in a week-long summer residency Alpha, and as the Director of the Smith- Korea for two weeks in at Aria International in South Hadley, MA Walbridge Clinics, the largest marching April, 2013, where he com- and toured with the Prairie Winds Wood- band and leadership camp in the country . pleted residencies at Seoul wind Quintet . The Jupiter String National University, Ewha William Kinderman (Musi- University, Sangmyung University, and Quartet, comprised cology) published his book Suwon University . These appointments of Nelson Lee and Wagner’s Parsifal (2013) . included performances and lectures about Megan Freivogel In May, he chaired a session his music, composition master classes, (violins), Liz Freivogel at the Wagner international and teaching an improvisation seminar . (viola), and Daniel McDonough (cello), musicological conference In May 2013, Lund was a guest of the maintained a busy touring schedule . in Leipzig, for which he also delivered “ensemble mise-en,” in New York City, Highlights included appearances and

42 sonorities where they premiered his new work (a conference in Louisville, KY where he also recording an eclectic recital album commission by the ensemble), Dead Inno- performed with his quintet and the UI with pianist Rohan De Silva, as well as cence: a contemplation of something Concert Jazz Band and Jazz Vocal Ensem- an album featuring classical, jazz, tango, serious . In Spring 2013, Lund performed ble . There he performed in a 50th anni- and Balkan folk music with Slovenian with his music/dance improvisation group, versary tribute to Oliver Nelson Jr .’s album, musicians Marko Hatlak, Luka Geiser, compostQ, for concerts at the University The Blues and the Abstract Truth . He was and Marko Crncec . of Louisville, Eastern Illinois University, a clinician and performing artist at Illinois William Moersch (Percus- and in Urbana-Champaign, which high schools as well as at Marshall Uni- sion) was the featured included the premiere of his work Occupy . versity in Huntington, WV, and at the soloist for the world pre- Midwest Band Clinic at the University of Gayle Magee (Musicology) miere of Christopher Theo- Missouri . His recording projects include completed her book on fanidis’ Concerto for the UI Concert Jazz Band and the music music in the films of direc- Marimba and Wind Sinfo- of Pepper Adams . tor Robert Altman during nietta in April 2013 . The work was com- Summer 2013 . The book Charlotte Mattax Moersch missioned by a consortium of university received support from the (Organ/Harpsichord) pre- wind ensembles led by Robert Rumbelow National Endowment from the Humani- sented a solo harpsichord and the University of Illinois Wind Sym- ties, and will be published by Oxford recital at the Smithsonian phony . In November, Moersch presented University Press next year . In June, Magee Collection of Musical a master class on “Commissions of William participated in a conference celebrating Instruments on the institu- Moersch” for the Percussive Arts Society the opening of the Altman archives at the tion’s historical harpsichords . The program International Convention, including Jacob University of Michigan, Ann Arbor . Her featured the Benoist Stehlin harpsichord Druckman’s Reflections on the Nature of article on Altman’s film Nashville (1975) of 1760, on which she played harpsichord Water, Richard Rodney Bennett’s Concerto appeared in the journal Music and the pieces of Jean Henry d’Anglebert and for Marimba and Chamber Orchestra, Moving Image in Fall 2012 . Magee was Armand-Louis Couperin, and the Johann and Alejandro Viñao’s Book of Grooves. recently re-elected as President of the Daniel Dulcken harpsichord of 1745 for Other new works recently commissioned Charles Ives Society (www.charlesives. works by J .S . Bach and Joseph-Hector by Moersch include Pin Hsin Lin’s Dancing org) . Fiocco . She was invited to perform in the Ocean for percussion ensemble, Steven 106th Bethlehem Bach Festival with the Snowden’s Long Distance for solo percus- Timothy McGovern internationally renowned RIOULT Modern sion and electronics, and Alejandro Viñao’s (Woodwinds) was awarded Dance Company in “Views of the Fleeting Percussion Sextet. a Research Board Grant for World,” danced to seven movements of a recording of double reed Mark Moore (Brass) gave J .S . Bach’s Art of Fugue . In addition, she solo and chamber reper- solo performances at the gave a lecture-recital titled “The Style of toire for bassoon, oboe, University of Texas Pan Basso Continuo Accompaniment in France and piano, which will include John Dee American, Arkansas State According to Denis Delair” for the confer- and Cara Chowning . He performed numer- University, and at Prospect ence, Continuo: the Art of Creative Col- ous concerts with the Illinois Symphony High School . laboration, sponsored by the Westfield Orchestra, Champaign Urbana Symphony, Center at Cornell for Early Keyboard Linda Moorhouse (Band) and the Prairie Winds Woodwind Quintet . Studies, held in April 2013 at Pacific conducted two All-State Charles L. (Chip) McNeill Lutheran University in Tacoma, WA . Bands (in Iowa and (Jazz) appeared with a Nevada), Florida State Uni- Stefan Milenkovich number of Grammy Award- versity’s Tri-State Festival, (Strings) will release a new winning artists including and engagements in album produced in col- Natalie Cole, Arturo San- Georgia, Illinois, and Florida . She lead laboration with Grammy doval, and Doc Severinsen the Directors Workshops for Smith-Wal- Award nominated lutenist and the Tonight Show Big Band . He taught bridge Summer Camps, which serves as Edin Karamazov . The at the Jim Widner Jazz Camp at the Uni- an impactful liaison to UI and music recording includes unusual arrangements versity of St . Louis and at the Jim Widner teachers in the state . Her campus outreach of songs by Grammy Award winner and Jazz Camp University of Nebraska-Omaha . includes working with the campus Autism British pop legend Sting . Milenkovich is He was a guest artist for the 2012 JEN Center, the Champaign-Urbana Autism

winter 2014 43 faculty news

Network, and organizing a concert series joined colleagues and students in a memo- Donald Schleicher for children and adults on the autism rial concert to honor Thomas Schleis . She (Orchestra) was the lead spectrum . collaborated with violinist Stefan Milen- conducting teacher at inter- kovich and his Ars Tango Group in India- national workshops includ- Jeananne Nichols (Music napolis, performing famous tango ballads ing the International Education) published her by Astor Piazzolla . She joined Ian Hobson Conducting Institute in article “Rie’s Story, Ryan’s in a performance of art songs for Sinfonia Boulder, CO and the Czech Republic Journey: Music in the Life da Camera, and Rochelle Sennet for an (May and July 2013); the International of a Transgendered ISMTA concert held in Foellinger Great Conducting Workshop and Festival in Student,” making it the first Hall . On Valentine’s Day, she participated Ann Arbor, MI (June 2013); a Conducting narrative study published in the Journal in a new musical by Joseph Turrin entitled Workshop and Master Class Series in of Research in Music Education . She is Love Games, which premiered at Krannert Chicago, IL (January 2013); and U Artist part of a research team that was awarded Center and was directed by Stephen Fiol . Music in Kiev, Ukraine (August 2013) . a grant by the Social Services and Humani- Other engagements were with The Larry The workshop in Kiev included conduct- ties Research Council of Canada to study Gray Trio and the DoCha festival . ing two internationally acclaimed orches- the awarding of tenure and its intersections tras, the Guiyang Symphony Orchestra with race, gender, ethnicity, and sexuality Debra Richtmeyer (Wood- in China and the National Orchestra of in Canadian music schools . winds) was one of four the Ukraine . concerto soloists selected Susan Parisi (Musicology) internationally to play in (Wood- contributed the article Bernhard Scully the Final Gala Concert of winds) organized Gunther “Transforming a Classical the 16th World Saxophone Schuller’s visit to campus Myth in Seventeenth-Cen- Congress held in St . Andrews, Scotland, as a George A . Miller Visit- tury Opera: Cybele and Atys in July 2012 . She performed the European ing Fellow . The residency in the Libretti of Francesco premiere of Lee Actor’s Concerto for Alto included master classes, Rasi and Philippe Quinault” for Gender Saxophone with the Scottish Chamber performances, and recording sessions Matters: Re-Reading Violence in Early Orchestra, conducted by Garry Walker . featuring UI faculty members . Scully was Modern Literature and Culture, edited by She was the featured concerto soloist on faculty of the Kendall Betts Horn Camp Mara R . Wade (Rodopi Press) . The 19 with the UI Saxophone Ensemble at the in Littleton, NH and at the Rafael Mendez essays in the volume grew out of an inter- opening evening concert of the North Brass Institute, where he is a member of disciplinary conference held at the UI in American Saxophone Alliance Region V the Summit Brass . He performed as prin- 2007 . She has been appointed to the Conference at Bowling Green State Uni- cipal horn in the Chautauqua (NY) Festival Lewis Lockwood Book Award Committee versity in March . From July 31–August 5, Orchestra and was on the faculty at the of the American Musicological Society . she taught master classes and performed Chautauqua Festival . Other engagements James Pugh (Jazz) directed a recital at the Magnetic Line Summer included the Midwest Horn Workshop the UI Jazz Trombone Saxophone Camp in Beijing, China at the University of Wisconsin-Oshkosh, Ensemble, which won the Pittsburgh Symphony Orchestra, the Dana Robinson (Organ/ several prestigious awards Saint Paul Chamber Orchestra, and the Harpsichord) performed including the National Jazz Chamber Music Society of Minnesota . solo organ recitals at All Trombone Ensemble Com- He held residencies at Florida State Uni- Souls’ Church in San Diego, petition and the Kai Winding International versity, Valdosta State University, University CA, the University of Notre Jazz Trombone Ensemble Competition . of Minnesota, Saint Olaf College, Carnegie Dame in South Bend, IN, Melon University, University of Michigan, Yvonne Redman (Voice) and at St . Mark’s Church, Grand Rapids, University of Georgia, and University of performed at the Allerton MI . He also joined Charlotte Mattax Northern Iowa . Music Barn Festival, where Moersch in performing J . S . Bach’s Art of she sang ballads by John Fugue for the Baroque Artists of Phillip Sousa with the UI Champaign . Wind Symphony and also

44 sonorities Rochelle Sennet (Piano) Chip Stephens (Jazz) per- she conducted the IMEA District 8 Junior served as host chair for the formed with several inter- Treble Choir and, in January, co-presented 2012 Illinois State Music nationally recognized jazz (with David Allen) the session, Hiking the Teachers’ Association Con- musicians including trom- Job Trail at the 2013 Illinois Music ference, which was held at bonist Curtis Fuller, tenor Educators Association All-State Confer- UI in November . She was saxophonist Ernie Krivda, ence, Peoria . She was the invited choral invited to present a lecture-recital at the and trumpet player Sean Jones . The CD clinician at the IMEA District 204 Orga- 2013 College Music Society Great Lakes he collaborated on with Fuller was released nizational Festival in February, and at Regional Conference at the University of internationally and received critical the Cobb County Middle School Choral Dayton in Ohio, where she performed acclaim . In April he played with Doc Festival, Cobb County, GA in March . In the music of George Walker . She was Severinsen at the Heartland Festival April she conducted the Fox Valley Music invited as the 2013 Guest Solo Artist and Orchestra in Peoria, IL, and he performed Festival Chorus in Chicago . Adjudicator for the Zelpha Wells Piano at one of the oldest annual Jazz Festivals Katherine Syer (Musicol- Competition at Stillman College in Tus- in the United States, the Tri-C Jazz Festival, ogy) presented her work caloosa, AL, where she performed works where he shared the stage with tenor on Wagner to symposium by J .S . Bach, George Walker, and Frederic saxophonist, Javon Jackson . and festival audiences in Chopin . In April 2013, she premiered the Sylvia Stone (Voice) con- Columbia (SC), Leeds, Second Piano Sonata by James Lee III at tinued her work with three London, Barcelona, Evan- Krannert Center . During Summer 2013, summer programs in Salz- ston, Chicago, and Melbourne in 2013 . she returned to Blue Lake Fine Arts Camp burg, Austria at the Univer- While based in Leipzig and Munich in in Michigan as a piano faculty member sity of Miami in Salzburg, Summer 2013 Syer launched two new and solo performer . Austrian American Mozart research projects . One concerns recent Gabriel Solis (Musicology) Academy, and Franco-American-Vocal- trends in operatic scenography, whereby was the 2012 winner of the Academy . The students prepared roles for human bodies form the set and/or props . Illinois Informatics Institute productions of Don Giovanni, Der Schaus- The other traces the far-reaching impact Scalable Research Chal- pieldirektor, and Bastien et Bastienne, of patriotic/heroic ideals expressed in lenge for Computer-Assisted with four performances of each opera . lyrics associated with the German Wars Analysis of Timbre in Summer 2013 also marked the 10th anni- of Liberation (1813-15) . Syer will train Recorded Music . He was elected President versary of her program for young opera Opera Theatre of St . Louis’s docents for of the Midwest Chapter of the Society for singers, which she founded and directs their production of Die Zauberflöte . Ethnomusicology . in Sant’ Angelo in Vado, Italy . Rick Taube (Composition/ Joel Spencer (Jazz) per- Bridget Sweet (Music Theory) was named prin- formed with the UI jazz Education) received a 2012 cipal researcher in Center faculty at Allerton Music FAA Creative Research for Audio Arts and Sciences Barn Festival in a “Tribute Award to fund the comple- (Strategic Research Initia- to Oliver Nelson’s The Blues tion of her research study tive), led by Paris Smaragdi and the Abstract Truth .” at the Durham School of (CS/ECE) . The jazz faculty also performed at two the Arts in Durham, North Carolina, focus- Stephen Taylor (Composi- Chicago jazz clubs: The Jazz Showcase ing on the “Adolescent Female Changing tion/Theory) presented and and The Green Mill . He gave three master Voice .” She co-presented the case study, published work on hemiola classes on “Jazz Drumming Techniques “Negotiating professional and personal and maximally even and Improvisation” for the UI Percussion identity: Student teaching experiences of rhythms, combining the Division and was an Artist in Residence one gay and one lesbian music student music of the Aka Pygmies at the Interlochen Arts Academy High teacher” at the 2nd Symposium on LGBT and György Ligeti . His new works Insulin School in Michigan, where he served as Studies and Music Education . She co- (for saxophone and harp) and Ubiquitin performer and clinician with small and chaired and planned the Committee on (for harpsichord) were performed in New large jazz ensembles Institutional Cooperation Music Education York and Los Angeles, and the Illinois Conference held at UI . In November 2012

winter 2014 45 faculty news

Wind Symphony performed Shindychew Sever Tipei (Composition- Glenn Wilson (jazz) pro- Dances . He conducted a concert version Theory) was invited to duced a CD with the UI of his opera Paradises Lost at Toronto’s speak at the “Out of the Concert Jazz Band featuring SummerWorks festival in August, and Box” Festival at Southern the UI Jazz Faculty for the arranged songs for Get Happy, the latest Illinois University . There he Motema record label . The CD by the band Pink Martini, released presented DISSCO, soft- CD included the music of in September . In February he conducted ware for composition and sound design the late baritone saxophonist Pepper the Illinois Modern Ensemble in the developed at the Computer Music Project Adams . He produced and performed in Midwest premiere of G . F . Haas’s hour- of the UI Experimental Music Studios, a series of 10 jazz concerts at the Illinois long work, in vain. and his piece figer, for computer-generated Shakespeare Festival in Normal this sounds, was performed . He performed summer . Wilson will continue touring Reynold Tharp (Composi- his work HB with G&E, for piano and with the Doc Severinsen Big Band . tion/Theory) worked on computer-generated sounds, at the Inter- commissions for the East- Ann Yeung (Harp) is one national Society for Music Information Central Illinois Chapter of of five UI Fellows in the Retrieval conference in Porto, Portugal, the American Guild of Committee on Institutional in October 2012, and at the Southern Organists and a piano trio Cooperation 2013-2014 Illinois University 2013 New Music Fes- for Earplay Ensemble, San Francisco, CA, Academic Leadership tival . His composition Lament, for solo which will premiere in March 2014 . His Program and was the Jury piano, was performed at Keyboard Mara- music was performed internationally at President for the 2013 USA International thon “Eastern European Masters” in San the Jine Pohledy Festival, Prague, and Harp Competition . Last year, she was Francisco, CA . In May, he was featured Sejong Chamber Hall, Seoul . The world featured in the Krannert Center for the in two Westdeutsche Rundfunk (Köln) premiere of his orchestral piece, Wide Performing Arts Opening Marquee Event programs: one on “Curses and Magic” sea, changeful heaven, by the UISO in entitled “The Tao of Bach ”. As part of the and the other on the history of electro- September 2012 was followed by three Alethia Duo, with Jonathan Keeble, she acoustic music . He presented a paper at performances by the UC Berkeley performed at the Lake Como Festival in the April 2013 International Computer Symphony . Italy, the Les muséiques Festival in Swit- Music Conference in Perth, Australia . zerland, and as part of the Amity Founda- Matthew Thibeault (Music (Piano tion’s annual Chinese Orphans Benefit Education) continued work Christos Tsitsaros Pedagogy) was the invited Concert in Madison, WI, which raised on a book stemming from artist and clinician at the money to support HIV/AIDS-affected a paper that earned him annual piano forum of the orphans . She gave master classes and the 2013 Outstanding Korean Association of Piano performances at Indiana University’s Jacobs Emerging Researcher Award Pedagogy in Seoul in May School of Music, the Eastman School of from the Center for Music Education 2013 . There he gave master classes and Music, Rice University’s Shepherd School Research at the University of South Florida . lectures at Hansei University, Chung-Ang of Music, the University of North Texas, He gave presentations at the College University, Ewha Women’s University, the University of Wisconsin-Madison, the Music Society Conference in San Diego, and Soong Eui Women’s College . He gave University of Minnesota, and Baylor Uni- and the CIC Music Education Conference a presentation of his own piano works at versity . She serves as Editor of the World in Urbana . He was invited to write a the 2013 National Conference on Key- Harp Congress Review and on the Board response article regarding predictions for board Pedagogy in Lombard, IL . As a Hal of Directors of the American Harp Society the future of music education, published Leonard composer and G . Schirmer editor and the World Harp Congress, in volume 115(2) of Arts Education Policy and recording artist, he toured in Cali- concurrently . Review . Finally, he performed with the fornia, Indiana, Minnesota, and Illinois, Homebrew Ukulele Union at the CU Folk giving workshops and performances . He and Roots Festival . also adjudicated the Texas Music Teachers Association’s composition competition, and the St . Louis Area Music Teachers Association’s piano competition .

46 sonorities emeriti news

Zack Browning (Composi- performance, and preservation of the with Beth Quitslund of Ohio University, tion/Theory) received the world’s musical traditions . In December, he is preparing a critical edition of The Directors Choice Award a symposium in honor of Professor Nettl, Whole Book of Psalms, the principal pub- from the Boston Opera titled “Intellectual Counterpoints,” was lication of metrical psalms and tunes for International Composers held at the Phonogrammarchiv of the congregational singing in Elizabethan Competition for his Song Museum für Völkerkunde, Berlin . In Spring England . The edition is sponsored by the Arirang . The work was selected from more 2013, Nettl served as William Fleming Renaissance English Text Society . In July than 400 works submitted from 70 coun- Distinguished Visiting Professor at Syracuse 2013, he and Quitslund gave a joint pre- tries . Song Arirang was also performed University and lectured at the University sentation on the subject at the “Psalm at the Catholic University of America of Colorado . He received several lifetime- Culture and the Politics of Translation” at New Voices Festival in Washington, DC . achievement awards and participated in the Old Charterhouse, London . Browning was a finalist for the Portland meetings of the Society for Ethnomusicol- Chamber Music Festival Composers Com- ogy as speaker . He lectured at CUNY Scott A. Wyatt’s (Com- petition and the Definiens Project Com- Graduate Center, the University of Colo- position/Theory) work mission . Browning received performances rado, and the University of Cincinnati . ComLinks, was featured at of his compositions in Tianjin and Beijing, Nettl was awarded the Haskins Prize from the 2012 Lipa Festival of China; Paris, France; Taipei, Taiwan; and the American Council of Learned Contemporary Music at the throughout the United States . He served Societies . Iowa State University in as composer-in-residence at Webster October 2012 . It was released in Summer University in St . Louis and the University Edward Rath (Associate 2012 in the SEAMUS CD Recording Series . of Louisiana at Monroe and gave lectures Director Emeritus) per- In October he was invited to West Chester at the University of Southern Louisiana formed a house concert in University in Pennsylvania to present and the University of Southern Mississippi . Natchitoches, LA, and on composition master classes at the School He completed two commissions in 2013: an alumni and emeritus of Music of the College of Visual and Vibrations of Hope for two pianos, which faculty recital at Lawrence Performing Arts . Wyatt was the invited is a response to the Sandy Hook tragedy, University in Appleton, WI . He joined speaker for the Chicago chapter of the and Unafraid for the New York University Ian Hobson for a four-hand performance Audio Engineering Society where he was Faculty Trio . of the third and fourth sets of Hungarian recognized for his dedication and con- Dances by Brahms as part of Ian’s Brahms tributions to the field of professional audio . Eve Harwood (Music Education) com- series in New York’s DiMenna His most recent electroacoustic music pleted a two-year term (2011-2013) as Center . Rath later returned to Lawrence, composition, All Sink, was selected for Interim Editor of the Bulletin of the Council where he played a recital with his brother, performance at the Showcase Concert of for Research in Music Education . The Carl Rath, faculty bassoon instructor . the April 2013 national conference of the journal celebrated its 50th year of publica- Society for Electro-Acoustic Music in the tion at Illinois in 2013 . Currently she is on Nicholas Temperley (Musi- United States (SEAMUS) hosted in St . the board of the Urbana Pops Orchestra, cology) jointly completed Paul, MN . In May, he was the guest resi- and acts as emcee/audience educator at an article with his son dent composer at the Future Music Oregon its concerts . David (Eastman School of Intermedia Music Technology Center at Music) on “Stress-Meter the University of Oregon School of Music Bruno Nettl (Musicology) Alignment in French Vocal where he presented composition master was the first recipient of an Music” in the Journal of the Acoustical classes and performances of his international biennial prize, Society of America (Sept . 2013) . Together compositions . The Taiji Traditional Music Award, awarded by the Taiji Foundation of Beijing and the China Conservatory . The purpose of this award is to encourage the study,

winter 2014 47 alumni news During the 55th annual Grammy awards Ceremony René Clausen (MM ’77, DMA —compiled by Lauren Coleman, Research Assistant ’99) was recognized for his compositions . Charles Bruffy conducted the Kansas City 1960–1969 Chorale in Life & Breath—Choral Works by René Clausen, a CD collection of sacred Gordon Mathie (EdD ’69) spent a week as the guest conductor choral music that was awarded three Grammys this year: of the Troy, MI Symphonic Band . Currently, a doctoral student Best Choral Performance, Best Engineered Album, Clas- at Florida State University is writing a dissertation titled “The sical, and Producer of the Year (Blanton Alspaugh) . Clausen Career and Teaching Methods of Dr . Gordon Mathie ”. graduated in 1974 from St . Olaf College, Northfield, MN, and received a Master of Music in Performance and 1970–1979 Doctor of Musical Arts degree from the University of Sister Marion Etzel (MM ’70, PhD ’79) was elected to the Illinois . Clausen is in his 27th year at Concordia College international leadership team of the Sisters of the Divine Savior as artistic director of the Concordia Christmas Concerts for 2013-2019 and was also elected General Secretary of the as well as the Concordia Choir . There, he was named the Order . She will be based in Rome . Paul J . and Eleanor Christiansen Chair in Choral Music in 1996 . His arranging commissions have come from Eric Halfvarson (BM ’74, MM ’76) performed such groups as The King’s Singers, Mormon Tabernacle in Die Meistersinger von Nürnberg in Budapest Choir, and American Choral Directors Association . and spent his debut summer in Salzburg . He sang in London in the Proms concerts of Wagner’s University of Chicago Professor Philip Ring operas conducted by Daniel Barenboim . Bohlman (PhD ’84) was awarded a Gug- genheim Fellowship for Music Research . Bohlman is the Mary Werkman Distin- 1980–1989 guished Service Professor of Music and the Humanities at the University of Chicago Daniel Adams’ (DMA ‘85) “ . . . for the frozen and an honorary professor at the University of Music, sea inside us” for flute and tuba received its world Drama, and Media in Hanover, Germany . His Guggenheim- premiere on August 8 at the 41st Annual National funded research will draw on previous work focused on Flute Association Convention . In October his music during the formation of nations throughout the trio, Two and One, was performed by Lisa Cella, globe . He is especially interested in combining perfor- flute, Gita Ladd, cello, and Andy Andrist, piano, mance and research on modern Jewish music . His work as part of the LIVEWIRE THREE Festival at the University of with the New Budapest Orpheum Society was awarded Maryland . In September Rosewood Aphorism for marimba solo the 2011 Noah Greenberg Award for Historical Perfor- (from Five Marimba Miniatures) was performed as part of the mance from the American Musicological Society . In Miniatures Recital presented by A Very Small Consortium at addition, his performance of stage music from the con- the Weidner Center of the University of Wisconsin . That same centration camps was awarded the 2009 Donald Tovey month, the University of Wisconsin–Madison Western Percus- Prize from Oxford University . His ongoing fieldwork sion Ensemble performed Ambience, a wind chime and conch includes studies of music in the Muslim communities of shell piece for seven players, at the Wisconsin Institute for Europe, as well as religion and the arts in India . Bohlman Discovery in Madison . Two of Adams’ compositions were is a fellow of the American Academy of Arts and Sciences performed as part of the Society of Composers, Inc . Region VI and a former president of the Society for Conference held at West Texas State University in Canyon, Ethnomusicology . Texas . Adams’ Road Traversed and Reversed for marimba duo has also been released by Keyboard Percussion Publications .

John Bell (MS ’77, EdD ’86), currently Director of Bands and graduate conducting and directs the Concert Choir and Madrigal Professor of Music at Southern Illinois University (Edwardsville), Singers . She is the Illinois ACDA state President . was elected to membership of the American Bandmasters Association . James Crowley (BM ’86) is Associate Professor of Music at the University of Wisconsin Parkside . His composition Tableaux Karyl Carlson (MM ’82) is in her 10th year as Director of Vivants was commissioned by the Duo Montagnard, which Choral Activities at Illinois State University, where she teaches toured the piece throughout North America, South America, 48 sonorities and Europe . It is also on the Duo’s most Action Meeting in 2012 . She also was a Julia Kay Jamieson (MM ‘02) was elected recent CD . His piano trio From The Earth co-author for a poster presentation, “Effect Director-at-large for the American Harp was a prize winner in the Ravinia Music of Baseline Variability in Motor Learning: Society Board of Directors . Her article, Festival’s first composition competition, Meta-analysis over multiple data sets,” at “The Teaching Corner: Improvisation Invi- and was toured on the east coast and the Computational Sensory-Motor Neu- tation,” was published in The American throughout Illinois . Most recently, his roscience conference . This research also Harp Journal winter 2013 issue . Her four- complete works for solo piano were pre- received the 2012 award for research movement suite, one time around, for sented by pianist Eun-Joo Kwak at the at the Translational and Computational multiple harps premiered by the 2013 World Piano Conference in Serbia . Motor Control 2012 conference . Illinois Summer Harp Class Harp Jam . She was a featured clinician for the American Mark Gustavson’s (BM Jenna Daum (BM ‘06) performed as Harp Society’s Greater Seattle Chapter in ’81) chamber music will Acting Second Flute of the Phoenix Sym- Washington and Eugene, OR chapters and be featured on the album phony Orchestra in 2012-13 . the 2013 Vashon Island Harp Camp . She Dissolving Images continues to perform as Principal Harp (Troy1424), released by Lauren Frankovich (BM for the Cleveland Chamber Symphony Albany Records . The album ’07) performed as a member in Ohio and was the artistic director and contains performances by musicians, of Essential Voices USA in featured performer for the CCS’s Benefit such as pianist Lisa Moore (BM ’82) who the Anatomy of Peace at Concert and Tribute to Michael Leese in performs Dissolving Images, clarinetist “A Tribute to Marvin Ham- January 2013 . Ed Gilmore’s interpretation of Trickster, lisch,” a memorial concert and Quintet, played by the members of at the Juilliard School . She sang as a Elizabeth Jaxon (BM ‘06) and Marta Contempo . Additionally, the New York member of Essential Voices USA in The Power Luce, as the Atlantic Harp Duo, ensembles Either/Or and Parnassus per- Music in my Mind with soloist Lucie Arnaz were the closing artists at the 46th formed the chamber ensemble works Jag at the book signing of the late Marvin Summer Festival in Gargilesse, France . and A Fools Journey respectively . Hamlisch’s book, Marvin Makes Music . Their program featured works from their She also covered the role of Constance debut recording, A Journey with Chopin 1990–1999 from The Sorcerer with the New York and Sand . Gilbert & Sullivan Players . Tina Bull (BME ’81, MME ’93, PhD ’96) directed the Charles W. Lynch III (MM ‘02, DMA Oregon State University’s Jeff Haeger’s (BME ’01) ‘09) was the featured Guest Instrumental- women’s choir, Bella Voce new choral composition, ist for the July 2013 Saint Mary’s College Fiat Lux, was selected as at Alice Tully Hall, Lincoln Summer Composition Intensive in Notre Center for the Performing the featured anthem for the Dame, IN . He gave lecture/presentations Arts . The program included the world United Church of Christ and worked closely with composers on premier of Viva Sweet Love by Joan General Synod in Long new works for the harp . He also served as Szymko . The women’s choir also col- Beach, CA . Haeger will conduct the principal harpist for the Millikin-Decatur laborated with the Oregon State Meis- massed choir of 120 singers . Symphony Orchestra, Chicago Composer’s tersingers and Chamber Choir, performing Orchestra, and the Kankakee Valley Sym- Vaughan-Williams’ Dona Nobis Pacem . Jamie Hillman (MM ’09) was presented phony Orchestra . He was a harp sectional the 2012 Leslie Bell Prize for choral con- coach for the Chicago Youth Symphony Christopher Nicholas (BME ’94) was ducting in December 2012 . This award is in 2013 . His flute and harp duo, From the appointed Director of Bands at Colorado presented every other year to an emerging West, was presented at a lecture-recital at State University . conductor who works with a professional, the 31st Great Lakes Regional Conference semi-professional, or community choir . of the College Music Society at the Uni- 2000–2009 versity of Dayton (OH) in March 2013 . He Rebecca Hinkle (MM ’07) was appointed teaches at Olivet-Nazarene University in Keturah Bixby (BM ‘08) gave a conference Director of Arts Education at New Jersey Illinois and Valparaiso University and St . talk as first author on “Musical Experi- Performing Arts Center, in Newark . In Mary’s College in Indiana . He is currently ence Effects on Perceptual Grouping” at this role, she will implement in-school, the Social Media Contact and Webmaster the Auditory Perception, Cognition, and community, and arts training programs .

winter 2014 49 alumni news for the Greater Chicago Chapter of the Elivi Varga (DMA ’07) serves Program through the UIUC School of American Harp Society . as a teaching artist with The Music Office of Outreach and Public Learning Arts Adirondack Engagement and also taught at Millikin Caitlin McGovern (BME Park Project, bringing inter- University (Decatur, IL) as an adjunct ‘09) serves as the Assistant disciplinary music concerts assistant professor . Director of Bands at Adlai and workshops to school E . Stevenson High School districts throughout Adirondack Park . She Diane Couzens (BM ‘12) is finishing in Lincolnshire, IL . She is a freelance flutist and teacher in the coursework toward a Master of Music directs the Symphonic Band Philadelphia area and contributes book degree at Ohio State University as the and Jazz Lab Band, and will assist with reviews to the Philadelphia Inquirer . recipient of a University Fellowship . During the the Honor Band, Advanced Symphonic Summer 2013, she worked as a Develop- Band, Concert Band, Freshman Band, Brittany Viola (BM ‘09, BME ‘09) received ment Intern at the Ravinia Festival . Marching Band, and Pep Band . her music degree and enrolled in the UIUC School of Law and is currently an Gabriel Sean Darby (DMA ’11) was Jennifer Nelson (BM ’06) performs in Associate with Chapman and Cutler LLP appointed Adjunct Professor of Music at Colorado Springs, CO with the Air Force in Chicago . the University of Central Missouri . Academy Band . 2010–2013 Melissa Davis (DMA ’13) was appointed Keelin Eder Schneider (BM ‘08) is Assis- Instructor of Voice at the University of James Blachly (MM ’13) presented a tant Director of Prospect Management for Arkansas at Pine Bluff for the 2012/2013 concert in July 2013 at St . Bartholomew’s the University of Chicago Booth School academic year . She taught music theory, Church in New York City, featuring of Business . music history and appreciation, voice, Beethoven’s Eroica Symphony, Mahler’s vocal pedagogy, and was assistant con- Blumine Movement, and Wagner’s Rienzi Allison Semmes (BM ’06) ductor of the UAPB Vesper Choir . Overture .The concert was a benefit for the is currently in the Broadway Youth Orchestra of the Lower 9th Ward musical The Book of Karen Gallant (BM ’13) participated in in New Orleans, which he co-founded Mormon as the understudy the Madeline Island Music Festival and in 2011 . The School of Music provided for Nabulungi . Last June, was accepted into the University of Texas funding assistance for the concert and a She sang at the Brooklyn at Austin flute studio to work toward a travel grant for three students to participate: Academy of Music with Erykah Badu and Master’s degree . Aaron Romm (DMA Trumpet), Chukyung the Brooklyn Philharmonic in Ted Hearne’s Park (MM Violin), and Brandon Eldredge You’re Causing Quite A Disturbance. Sadie Glass (MM ’13) was (MM Orchestral Conducting) . Blachly has named one of 11 fellows recently been appointed the 2013-14 Jennifer Swanson (BM ’06) is employed for the inaugural year of Zander Fellow through the Boston Philhar- full time as a music therapist for Heartland the Orchestra Institute Napa monic where he will be assisting Benjamin Hospice of Philadelphia after receiving Valley Fellowship Program Zander in his conducting activities . a Master’s degree in music therapy from in Napa Valley, CA . As a Temple University . fellow, she was a member of the Symphony Chee Hyeon Choi (MM Napa Valley’s horn section and served ’06, DMA ’12) has been Colleen Potter Thorburn (BM ‘06) the community as an artistic ambassador appointed to a full-time performed with the 3Penny Chorus and for the Performing Arts Center and its faculty position as Instructor Orchestra at Radio City Music Hall in New affiliates . She also taught and created of Piano in the School of York City on NBC’s America’s Got Talent integrated arts curricula for Salvador Music at Bradley University during their August 13th live broadcast . Elementary and Justin-Siena High School, (Peoria, IL) beginning in Fall 2013 . She Her Apple Orange Pair duo, with Emily and started a chamber music series at will coordinate the college group piano Boyer (horn), will release their debut Pacific Union College . program and teach applied piano lessons . recording this fall, successfully funded in Choi previously served for four years as part by a Kickstarter campaign and a Yale the Coordinator of the Piano Laboratory School of Music alumniVentures award .

50 sonorities Eduardo Herrera (PhD Youth Philharmonic and Youth Symphony Jacqueline Pic- ’13) was hired as Assistant Orchestra . He was also appointed the colino (BM ’13) Professor in Music History co-director of orchestras at Glenbrook made her profes- and Ethnomusicology at North and Glenbrook South High Schools sional debut with Rutgers . During 2012-13, in Northbrook and Glenview, IL . In Sep- the San Francisco Herrera presented his tember 2013, he conducted a concert Opera this past research at the international conference version of Gershwin’s Of Thee I Sing at June as Stella in its production of The “Transcending Borders: Latin American the Allerton Music Barn Festival . Tales of Hoffmann and performed in the Music and its Projection onto the World world premiere of Tobias Picker’s Dolores Stage” organized at Virginia Tech, at the Sun Hee Kim (DMA ’13) was appointed Claiborne, in September . She is a current 39th Annual Conference of the Society Assistant Professor in Music/Faculty Adler Fellow with the San Francisco Opera . for American Music in Little Rock, AK, Accompanist at the Central State University and at the 17th Latin American Music in Wilberforce, OH . There, she teaches Victoria Ritter (BM, ’10) was hired as Festival in Caracas, Venezuela . Herrera diction and accompanying, accompanies the Registration and Scheduling Coor- is currently chair of the Latin American student and faculty recitals, coaches vocal- dinator for the Peabody Preparatory of interest group of the Society for American ists, and accompanies the CSU chorus . the Johns Hopkins University . She will Music and member of the International direct the student registration and billing Editorial Advisory Board of Routledge’s Nicole Leupp, (DMA ’09) was appointed process for approximately 1,500 Peabody Encyclopedia of Modernism . Assistant Professor and Coordinator of Preparatory students . the Voice Department in a tenure track Nick Jaworski (MME ’11) won first place position at the University of Portland . Casey Robards (BM ’98, MM ’00, DMA in the Summer 2013 Spotify Music Educa- ’10) recently completed a one-year post- tion Hackathon at New York University . Richard Andrew Miller (MM ’11) was doctoral appointment at Oberlin College appointed Adjunct Instructor of Percus- and joined the faculty of Central Michigan Rebecca Johnson (DMA sion at Olivet Nazarene University in University teaching collaborative piano ’10) presented a lecture Bourbonnais, IL . in Fall 2013 . That summer was her sixth recital at the Midwest Clinic as a faculty artist at the Bay View Music in Chicago with clarinetist Scott Ninmer’s (BM ’11) Festival in Michigan . There, she coordi- Magie Smith, as well as a arrangement of Dave Bru- nated and coached a two-week opera lecture about the music of beck’s “In Your Own Sweet scenes, art song and recording program composer Thea Musgrave at the British Way” was the winner of for 10 singers and two pianists, and gave Flute Society convention in Manchester, the 2013 Detroit Jazz Fes- several solo and chamber performances England . She performed in recital programs tival JC Heard Jazz Arrang- with faculty colleagues . In August, she at the National Flute Association conven- ing Competition . He was chosen as the performed Florence Price’s Fantasie Negre tions in both 2012 and 2013 and at a third prize winner of the “2 Agosto” Inter- in a benefit concert for the Chicago Music recital of music for flute and horn with national Composing Competition . His Association, a branch of the National hornist Katherine McBain at the Interna- piece for baritone vocalist and orchestra, Association of Negro Musicians, and tional Women’s Brass Conference . titled Sylvan Spirits, was performed in was a faculty coach/accompanist at the Bologna, Italy in a commemorative concert Snowater Flute Festival in Washington . Ingrid Kammin (DMA honoring the victims of the Bologna Mas- Additional recitals were with soprano ’12) was appointed to the sacre . He was selected as one of eight Ollie Watts Davis (San Juan, Costa Rica), faculty at Blackburn College international participants in the 2013 soprano Karen Slack Blackwell (Oberlin, in Carlinville, IL beginning Metropole Orkest Arrangers Workshop OH), and flutist Bonita Boyd (Seattle, WA) . in late-August . and spent a week in Hilversum in the Netherlands working with the Metropole Henning Schroder (DMA ’11) was hired Aaron Kaplan (BM ’11, Orkest as part of the Arrangers Workshop . as Assistant Professor of Music at Ohio BME ’11, MM ’13) was His arrangement of Three Views of a Northern University beginning Fall 2013 . appointed Interim Conduc- Secret was performed with guest soloist tor of the Quad City Youth Richard Bona at Lanteren Venster in Jennifer Shanahan (BM ‘13) began Symphony Orchestras, Rotterdam . coursework toward her Master of Music where he conducts the winter 2014 51 alumni news degree at the University of Southern Cali- American British Music Studies Associa- Ka-Wai Yu (DMA ’11) published his fornia . She also attended Orford Music tion conference in July 2012, Vickers arrangement for cello and string quartet Academy in Montreal last summer . presented a lecture-recital that featured of Robert Schumann’s Cello Concerto in the world première of Benjamin Britten’s A Minor, Op . 129 . Yu is currently on the Jonathan Sharp (MM ’11) was appointed “Epilogue” to The Holy Sonnets of John music faculty at Eastern Illinois University Lecturer in Percussion at Morehead State Donne . Vickers recently received a Britten and Indiana Wesleyan University . University in Kentucky . Award from The Trustees of The Britten Estate for the conference he co-organized Polly Yukevich (MME ‘11) has been Easton Stuard (DMA ’12) was appointed at Illinois State University: “Benjamin named Director of ukulele virtuoso Jake the Director of Jazz Studies at Indiana Britten at 100: An American Centenary Shimabukuro’s educational outreach University- Purdue University Indianapolis Symposium ”. Recent recording projects project, the Four Strings Foundation . where he is a visiting professor . with composer Joseph Summer resulted in the first of three releases by Parma Aaron Ziegel (Ph .D . ‘11) Justin Vickers (DMA ‘11, Recordings, Shakespeare’s Memory (2012) . started a new tenure-track BM ‘96) began his appoint- He has a number of forthcoming albums appointment in Fall 2013 ment as Assistant Professor in the works . as an Assistant Professor of of Voice at the Illinois State Music History and Culture University School of Music Drew Whiting (DMA ’13) was hired as at Towson University in in Normal, IL .Vickers was Instructor of Saxophone at the University Maryland, where he teaches courses on invited to collaborate on and contribute of Wisconsin, Oshkosh beginning Fall music in the United States . His next pub- to the Coventry Cathedral 2012 Golden 2013 where he will teach courses on lication, a book review, will appear in Jubilee program by the festival director, music and culture, music theory, and the journal Nineteenth-Century resulting in two published articles by The applied saxophone . Contexts . Bliss Trust . At the Fifth Biennial North

Oct. 1, 2014: Balkanalia, led by Associate Professor of Musicology Donna Buchanan, performed for the Croatian co-president of Bosnia, the first lady, and Bosnian ambassador to the US. Donna Buchanan

52 sonorities student news 2012–13 Competition Winners —compiled by Lauren Coleman, Research Assistant Joseph Anthony Alvarez, Fourteenth Annual 21st Century Piano Commission Award a graduate student in tuba Ashley Fu-Tsun Wang (composer) performance, was the tuba Ya-Wen Wang (piano) fellow at the Music Academy of the West this Theodore Presser Undergraduate Music Award summer . This was his third Noel Wan, harp year participating in the festival . Theodore Presser Graduate Music Award Erin Brooker, an undergraduate student in harp, was one of two harpists selected Michael Warner, musicology for the 43rd season of the Round Top Festival Institute this past summer . In May, Kate Neal Kinley Memorial Fellowship she premiered Evocacion for harp and Jacqueline Piccolino, voice vibraphone by Gabriel Mora Bentacur on the debut concert of the Archaea Tree Clara Rolland Piano Award Ensemble . She also presented “Toward the Sea: an in-depth Study of Performing Abigail “Faith” Gioja, piano Toru Takemitsu’s Music,” with Jennifer Shanahan (BM ‘13) at the UI Undergradu- Krannert Center Debut Artist Award ate Research Symposium in May 2013 . Moye Chen, piano

Liliana Carrizo, a graduate University of Illinois Symphony Orchestra Concerto Competition student in ethnomusicol- Eunhae Cho, voice ogy, was awarded a TAARII Hyeyeon Jung, piano fellowship from The Ameri- Sung Hee Shin, violin can Academic Research Institute in Iraq for disserta- Alternates: tion research abroad, in support of work Victor Kononeko, saxophone her work on Iraqi Studies . She was also Chen Wang, marimba awarded the Evelyne Accad International Research Award for research related to women’s lives in North Africa and the Middle East . master classes and lessons with Bonita Ellen Denham, a graduate Boyd, Alexa Still, and Judith Mendenhall . student in vocal perfor- Melody Chua, an under- She was a scholarship recipient at the mance, was invited to direct graduate student in flute Bernard Z . Goldberg Master Class, which the central project at the performance, attended a included master classes, chamber ensem- 2013 Indy Convergence, number of festivals this bles, and lessons on the Alexander an interdisciplinary arts summer . At the Chicago Technique . residency in Indianapolis . Her project, Academy for the Arts New about the subject of “otherness,” involved Music Festival, she attended a two- week Tania Arazi Coambs, a graduate student actors, dancers, musicians, and writers intensive workshop that included perfor- in vocal performance, has been appointed in collaborative improvisation, and was mances of new compositions under the to a one-year interim position at Indiana presented at the Wheeler Arts Community direction of the world-renowned Ensemble University of Pennsylvania . She teaches in Indianapolis in June . Musikfabrik . At the Aria Academy, Chua voice and will direct two one-act operas studied audition preparation and attended for the Opera Workshop .

winter 2014 53 student news

Mark Eichenberger, a graduate student Louis Symphony concert series in October Hyeyeon Jung, a graduate in percussion, was appointed Lecturer in 2012, performing works by Luciano Berio student in piano, won first Percussion at the University of Texas at and Ivan Fedele . She also participated prize at the Southern Illinois Brownsville . in the International Ensemble Modern Young Artist Competition Akademie in Austria in September 2012 . in 2013 . The following Allison Fromm, a graduate She performed Second Harp with the St . summer, she participated student in Choral Conduct- Louis Symphony in Spring 2013 and for in the International Keyboard Institute ing, collaborated with its 2013 opera season . In March 2013, and Festival in New York . She also gave Andrew Clark, Director of she was featured on the Nonnewerther a piano recital in Edwardsville, IL in the Choral Activities at Harvard Inselkonzerte concert series in a program, fall . University, on developing “Auf den Spuren des Quintette Instrumental choral programs for children and adults de Paris,” in Germany . She is the recipi- You-Kyoung Kim, a graduate student with physical and intellectual disabilities . ent of an Illinois Arts Council Individual in flute, won the Principal Flute position Clark and representatives from Harvard’s Artist Professional Development Grant in the Mostly Philharmonic Orchestra in Holden Choruses joined “Joyful Noise,” and Chicago Cultural Grant in 2012 . Seoul, South Korea . her New Jersey chorus of adults with disabilities, in a July 4th performance . Christopher Holman, an undergraduate Zach Klobnak, a graduate student in Fromm then served with Clark as Guest student in vocal performance, partici- organ performance, is College Organist Faculty at the Woodlands Foundation’s pated in the Tafelmusik Summer Baroque and Instructor of Music at Centre College in “Notes from the Heart” music camp near Institute in Toronto in June, a two-week Danville, KY . He is also Director of Music Pittsburgh .They are planning joint concerts intensive on the historically-informed at the Presbyterian Church in Danville . for Joyful Noise and the Harvard Collegium performance of the music of the 17th and Musicum in Philadelphia and Cambridge 18th centuries . The participants included Rocio Lima, a graduate student in flute in Spring 2014 . 16 auditioned singers from throughout performance, was one of the 1 percent of the world, and approximately 60 period arts applicants to receive a full scholarship Sam Gingher, a graduate student in piano instrument players . from the Secretary of Higher Education, performance, attended West Virginia Uni- Science, Technology, and Innovation of versity’s Piano Festival, “The Intersection Chen-Yu Huang (MM ‘07), a graduate Ecuador . This academic merit-based award between Jazz and Classical Piano ”. As a student in harp, performed Henk Bading’s will fund Lima’s graduate studies in Music clinician, he presented on 19th Century Harp Concerto with the American Wind Performance and Literature . preluding and a pedagogical approach Symphony Orchestra for its 2012 tour . to classical improvisation . He also won In the 2012-2013 season, she won the Ann McLaughlin, a graduate student in first prize in the collegiate classical piano Principal Harp position with the Illinois harp performance, performed a multimedia competition at the festival and performed Symphony Orchestra and was named solo recital in the William M . Staerkel live on WQED Pittsburgh radio . an Associate for the Civic Orchestra of Planetarium in Champaign in January . Chicago . She is a Finalist for the New Commemorating the 25th anniversary of Omar Haney, an under- World Symphony in Florida . In Spring the Planetarium, the show featured a range graduate student in saxo- 2013, she performed with Illinois State of music from Bach to Debussy, Flagello phone, won top honors at University ensembles and worked with to Coldplay, all choreographed to a star the Music Teachers National their composers in residence, including show . This summer, she competed in the Association Senior Wood- John Mackey and Pulitzer winner and UI Lyon and Healy Awards competition in wind Competition . The alumnus Michael Colgrass . She teaches at Los Angeles . She was also one of 52 com- Senior Performance Competition took Illinois Wesleyan University . Recently, she petitors accepted to play in the 9th USA place Sunday, March 10, during the 2013 has been appointed to teach at Parkland International Harp Competition, which MTNA National Conference in Anaheim, College in Champaign and the UI School is held triennially at Indiana University’s CA . of Music Academy . Jacobs School of Music .

Claire Happel (BM/BFA ‘04), a gradu- Ian Middleton, a graduate student in ate student in harp, was featured on the musicology, along with performance Pulitzer Foundation for the Arts and St .

54 sonorities alumnus Andy Miller, was a recipient of an Urbana Arts Grant for the group COSTAS—playing traditional, Afro-rural music from the coasts of Colombia and Ecuador . This is the second consecutive year that COSTAS has received this grant . Members of the group include fellow PhD students Jon Hollis and Jud Wellington .

Thornton Miller, a gradu-

ate student in musicology, Keeble Photo Courtesy of Jonathan presented the paper “Ben- April 26, 2013: Members of the flute studio jamin Britten and Pre-1973 participated in the Christie Clinic Illinois Marathon. Soviet Performance Rights: Peter Grimes and The Prince of the Pagodas in Leningrad’s Kirov Theatre” at the 2013 Midwest Graduate and Visual Music . His work Amovi Alaan Dennis Deovides A. Reyes Music Consortium at the University of received second prize in the International III, a graduate student in Chicago . He was also awarded the Russian, Electroacoustic Music Young Composers composition, received East European, and Eurasian Center Foreign Awards of the Workshop for Computer much attention for his elec- Language and Area Studies Fellowship Music and Audio Technology and was troacoustic piece Fireworks for the 2013-14 academic year . performed at the National Chiao Tung at the recent Society of University Arts Center in Hsinchu, Taiwan . Electroacoustic Music in the United States Hillary Brady Morris, a Nichols’ composition The Pillar was the Music Festival . His electroacoustic piece graduate student in musi- winner of the second international Conlon Dance of the Monkey King has been cology, received three FLAS Music Prize for Disklavier Plus, and it was selected, along with works by other notable fellowships from the UIUC selected for performance at the Gaude- composers, for the 31st Asian Composers Center for East Asian Studies amus Muziekweek in September 2013 League Music Festival in September . Last to further her study of at the Museum Speelklok in Utrecht, July, Rik Noyce debuted Reyes’ solo flute Tibetan language in preparation for her Netherlands . piece Dance of the West Winds in Ontario ethnomusicological fieldwork . With the at the first Canadian Flute Convention . help of these fellowships, she studied Molly O’Roark, a graduate student in colloquial Tibetan at the Rangjung Yeshe harp, performed Debussy’s Danses with Julie Rochus, a graduate Institute (Kathmandu, Nepal), as well as the Eastman School of Music Symphony student in French horn, advanced Tibetan, Tibetan history, area Orchestra in Kodak Hall at the Eastman toured Central America this studies, and primary language research Theatre in October 2012 . She was awarded summer with the Youth methods on the IU-Bloomington campus . the Wayne T . Barlow Harp Award for Orchestra of the Americas . Morris is currently studying advanced Excellence in Harp Performance last May As the only North American colloquial Tibetan at the Rangjung Yeshe along with her Bachelor’s Degree in harp horn player selected, she represented Institute . performance, Arts Leadership Certificate, Canada and the University of Illinois . and Performer’s Certificate from Eastman . Members of YOA were chosen from more John Nichols III, a graduate student in than 800 auditions, and represented 25 composition, winner of this year’s 21st Suhyoung Park, a graduate countries from across the Americas . With Century Piano Commission Competition, student in piano, won 14 concerts in six countries, the six-week had his music performed in a series of second prize in the Ameri- tour included several community engage- prestigious national and international can Protégé International ment opportunities . In Santiago, Panama, venues . His piece Gates (Kedesh-Naphtali) Piano and Strings Competi- she visited four local schools and worked was awarded second prize in the Founda- tion in New York in 2013 with youth horn players . She participated tion Destellos Sixth International Com- and gave a debut recital in Weill Recital in YOA’s final concert in Belize City, Belize- petition of Electroacoustic Composition Hall at Carnegie Hall in March . the very first symphony orchestra perfor- mance in the country’s history . winter 2014 55 Evan Tammen (MM ’11), Adam Walton, a graduate student in was performed at the Krannert Center for a graduate student in oboe, percussion, was appointed to the US the Performing Arts and the Aspen Music was recently hired as the Army Band in South Korea . Festival . Operations Manager for Sinfonia da Camera, the Noël Wan, an undergradu- Steve Wilson, a graduate student in professional chamber ate student in harp, was a musicology, presented a paper titled “The orchestra affiliated with the Krannert Center special award-winner and Arcanum of Creativity: Coming to Terms for the Performing Arts and College of the youngest semi-finalist with John Zorns Astronome” at the Spring Fine and Applied Arts of the University in the 18th International 2013 meeting of the American Musico- of Illinois at Urbana-Champaign . His Harp Contest in Israel held logical Society Midwest Chapter meeting administrative responsibilities with Sinfonia in November-December 2012 . In August in April 2013 . include monitoring the organization’s 2013, she was invited to perform the finances, coordinating special events, opening concert of the Taiwan Harp Center Kathleen Winters, a gradu- acquiring music for the orchestra, con- in Taipei . ate student in flute perfor- tracting soloists, soliciting advertisers, mance, was a semifinalist writing press releases, and maintaining Ashley Fu-Tsun Wang, a in the National Flute Asso- the orchestra’s website . Tammen also graduate student in com- ciation’s Young Artist Com- began working as the applied oboe instruc- position, was the recipient petition and performed at tor at Illinois College in Jacksonville this of the ASCAP Foundation its convention in New Orleans this fall . fall, where he teaches undergraduate Fellowship at the 2013 oboe students . Aspen Music Festival and Megan Woller, a graduate student in School, and the winner of the 15th Annual musicology, presented a paper on the film Priscilla Tse, a graduate student in musi- 21st Century Piano Commission . Her version of West Side Story at the University cology, conducted her dissertation research music was published by BabelScores in of Illinois’s Women’s and Gender History in Hong Kong and served as part-time Fall 2013 . Her work Antares Falling was Symposium in March 2013 . She presented lecturer at the music department at the featured at the Aspen Music Festival, the two papers based on dissertation work Chinese University of Hong Kong . She has 2013 Midwest Graduate Music Consortium on the film Camelot at “The Perform- been awarded the Jill McAllister Award in April, and the Asian Composers League ing Body in the Hollywood Musical: An and a fellowship at the Illinois Program concert in Taiwan in December . It was Interdisciplinary Symposium” held at for Research in the Humanities and is the winner of the Panta Rhei New Music Colgate University in April 2013, and designated as an IPRH-Nicholson Gradu- Collective call for scores, and the piece “Music and the Moving Image,” held at ate Student Fellow for 2013–14 . will be performed in Kansas City in Spring New York University in May . 2014 . Her composition Parallel Universe Chip McNeill

56 sonorities in memoriam

James Bailey Andrew Eckard She was a talented and accomplished violinist and was considered a master Former choral faculty member and voice Cellist Andrew Eckard (BM ‘86, MM ‘88) teacher among her peers . This is reflected division chair James Bailey (1921-2013) lost his 13-month battle with a brain tumor in her continued involvement throughout died May 16, 2013 . He studied music on June 20, 2013 . He will always be the 1970s and 1980s in the String Con- extensively in the US, receiving full schol- remembered for his brilliant musicianship, ference and Chamber Music workshop arships to the Eastman School of Music sense of humor, and ability to connect held annually at the Immaculata College, (1946) and the Juilliard School of Music deeply with all around him . Drew Eckard Immaculata, PA and at the annual Festi- (1950) where he earned degrees in voice . was a native of Portland, OR . He began val of Baroque Music, held in Saratoga He also studied at the Akademie für Music studying piano at age eight and cello at Springs, NY . und darstellende Kunst in Vienna, Austria 10 . When he was 14, he was featured as Farmer was listed in the International and the Royal Academy in London . At the a concerto soloist with the Oregon Sym- Who’s Who in Music from 1974–1992 and University of Illinois he earned a Bachelor phony . He attended Indiana University was nominated by the School of Music of Music degree in 1953 and a Master of and the University of Illinois where he to receive the 1982 Campus Award for Music degree in voice in 1958 . studied with Janos Starker and Tsuyoshi Excellence in Undergraduate Teaching . After completing his studies he was Tsutsumi, respectively . Upon graduation She was included in the “Incomplete list offered a contract with the Stuttgart State he joined the Spokane Symphony, was of Teachers Ranked as Excellent by their Opera but declined in order to teach at the on the faculty of Oregon State University Students” yearly from 1980-84 . University of Illinois . He was hired as an in Corvallis, and afterwards was Princi- On April 16, 1992 Farmer gave a fare- Assistant Professor of Voice in 1952 and pal Cellist of the New York City Opera well performance at the Music Building was eventually promoted to full professor . National Company until he joined the auditorium with plans to retire on May He served as Chair of the Voice division Honolulu Symphony as Associate Principal 20, 1992 . The University of Illinois Board from 1970 to 1983 and on numerous Cellist in 1996 . He left Hawaii to pursue of Trustees conferred the rank of Assistant School of Music and University Commit- freelance work in Los Angeles when the Professor Emerita of Music to her on May tees including the Executive Committee Honolulu Symphony declared bankruptcy . 21, 1992 . of the School of Music, Undergraduate Memorial funds have been established Educational Policy Committee, and UIUC’s by the Portland Youth Symphony and the —Michael Cameron, Faculty-Student Senate . Additionally, he Southern Illinois Festival . Professor of Double Bass served as president of Pi Kappa Lambda, —Linda Veleckis Nussbaum an honorary music fraternity . He retired Edward John Krolick from teaching in 1991 . Virginia Farmer Edward John Krolick, former His résumé as a tenor soloist is extensive professor of Double Bass, and includes touring throughout Europe Born February 8, 1922 in passed away March 24 in and the US, as well as appearing in recitals, Brooklyn, NY, Virginia Fort Collins, CO, at the age operas, oratorios, and with choral societies . Farmer received her Bach- of 89 . Of his many outstanding achievements, he elor of Music degree from Krolick began his studies sang at a Memorial Day ceremony held the Eastman School of at Eastman School of Music, but in Feb- at Arlington National Cemetery where Music in 1943, her Master ruary 1943, he was drafted by the Army then-President Harry S . Truman spoke . of Music Education from Columbia Uni- during his sophomore year . He proudly He performed the title role in Benjamin versity in 1952, and her Doctor of Musical served his country during World War II Britten’s cantata St Nicholas with the Arts degree in violin from the University in Casablanca, Algeria, and Italy, and Vienna Boys Chorus, the Vienna Opera of Illinois in 1973 . from Naples to the Brenner Pass . He was Chorus, and the State Opera Orchestra . She joined the ranks of University of honorably discharged in 1946, and used He is featured on recordings for the Little Illinois employees as a Graduate Assistant the GI Bill to begin the second semester Church Around the Corner and Follett’s in Music in 1962, became an Instructor of his sophomore year at Eastman, fol- Educational Series on Columbia Records . of Music in 1965 and, upon receiving lowed soon by an MM . During that time her DMA, was promoted to Assistant he also performed with the Rochester —Emily Wuchner, Associate Editor Professor of Music with tenure in 1973 . Philharmonic .

winter 2014 57 in memoriam

His first appointment at Illinois was David Lloyd the Illinois Opera Theatre permission for Instructor of Double Bass in 1956, fol- the first college production of Porgy and David Lloyd, died Feb- lowed by a promotion to Associate Profes- Bess . Summer and fall productions were ruary 8, 2013, in New sor in 1964, and full Professor in 1974 . sold out including five performances at York . As director of the In 1983, he retired from Illinois, yet he Lake George . Illinois Opera Theater maintained an active schedule as an Lloyd believed that American singers from 1971–1985, he orchestral player throughout most of his did not need to go to Europe to await transformed a fledgling life . He was the principal bassist of the discovery; IOT graduates sang at the Met, group into a full-scale program . Before Champaign-Urbana Symphony begin- Chicago Lyric, NY City Opera, San Fran- coming to Illinois, Lloyd had a distin- ning the year it was founded (1956), and cisco Opera, and others . Students from guished career as a leading tenor with also played in orchestras in Springfield, Lloyd’s era with international careers the New York City Opera and as an inter- Kankakee, Danville, Peoria, and Memphis . included soprano Erie Mills, bass Eric national star at European festivals including Following his retirement, he and his Halfvarson, and the late tenor Jerry Hadley . Glyndebourne and Edinburgh . Benjamin wife Bettye moved to Fort Collins, CO, Lloyd left Illinois in 1985 to oversee the Britten chose him to sing the title role in where he taught double bass at Colorado Juilliard American Opera Center, and the US premiere of his opera Albert State University for the next 20 years . He served a long tenure as director of the Herring . Lloyd appeared as soloist with also served as a faculty member of the William Matheus Sullivan Foundation, the Boston Symphony 72 times (including University of Northern Colorado for six which funds up-and-coming singers . for the opening of the UN in 1952), with years and the University of Wyoming for 12 Born in Minneapolis on Feb . 29, 1920, the New York Philharmonic 58 times, and years . He was Principal Bassist of the Fort he enjoyed celebrating every four years— with the Philadelphia Orchestra 48 times . Collins Symphony for 23 years, Assistant and once sang the role of Frederick in The Among his recordings are Beethoven’s Principal of the Greeley Symphony for 18 Pirates of Penzance, who also was born Ninth Symphony with the Boston Sym- years, and a member of the Cheyenne in Leap Year . After receiving a bachelor’s phony and Handel’s Messiah with the Symphony for 20 years . He was an active degree from the Minneapolis College of New York Philharmonic . member of the American String Teachers Music and a diploma from the Curtis As an academic, Lloyd headed the Association, Music Educators National Institute of Music, Lloyd served as a Navy opera programs at the University of Iowa Conference, and the International Society pilot during World War II . and Hunter College in New York . As Artistic of Bassists . His first wife, Maria (violinist in the and General Director of the Lake George Krolick was an accomplished musician, UI Walden Quartet), and a son, Timothy, Opera from 1965–1980, he brought stu- passionate educator, loving father, and predeceased him . He is survived by his dents and faculty to work there during the great communicator . Countless music wife, Barbara, his son, David Thomas, summer . Believing singers not only needed students benefited from his firm discipline and a grandson . to learn roles, but also know what went and caring guidance . He was dedicated to on backstage, students worked alongside —Ronald and Barbara Hedlund, and his wife and children, and maintained an production staff on technical aspects Dorothy Williams active correspondence with hundreds of both on and off stage . Graduate students friends, colleagues, and family members . directed fellow singers in staged programs Edwin London In 1985, Krolick established a scholar- of opera scenes, plus faculty members ship for double bass and viola majors at Edwin London, aged 83, and visiting artists directed performances . Illinois . The Krolick family encourages composer, conductor, Opera lovers enjoyed sold out UI donations to the University of Illinois teacher, and Illinois faculty productions in summer, fall, and spring Foundation,1305 W . Green Street, Urbana, member from 1969 to interspersed with six evenings of one-acts IL 61801, in honor of the Edward Krolick 1978, died in Seattle on and scenes . Performances included works String Award . January 26, 2013, of such as Carmen, Boheme, Butterfly, A pneumonia . —Michael Cameron, Midsummer Night’s Dream, The Rake’s London began as a horn player at Professor of Double Bass Progress, and Black Widow . In 1976, Oberlin College, where he formed life- the Gershwin estate, which maintains long friendships, among them, with Sal tight control over performances, gave Martirano . He was comfortable almost

58 sonorities anywhere: in his early years he played with people—not because he “instructed,” and Shreveport, LA, and helped found the the Orquestra Sinfonica de Venezuela and not because he “modeled,” but because Shreveport Symphony . Following service the Oscar Pettiford Jazz Band . His PhD he himself was changing, sliding between in WWII, he moved his family to Illinois was from The University of Iowa, where he genres, joining the improbable, rejoicing and attended the University of Illinois in studied conducting with the redoubtable in metamorphosis . Champaign-Urbana, where he earned Philip Greeley Clapp . Along the way he Bless you, Ed, for that and so much a Master’s Degree in Music Education studied composition with other luminar- more . under A .A . Harding, and was chosen as ies: Gunther Schuller, Luigi Dallapiccola, president of the top band . Upon gradu- —William Brooks and Darius Milhaud . ating, he served as Director of Bands at He was appointed to the faculty of Smith Anne Lowe the College of Puget Sound in Tacoma, College in 1960 . From there he moved to WA until 1950 . Illinois, where he founded The Ineluctable Anne Lowe, Ph .D ., died in Moncton, He was called back into active mili- Modality, a choral ensemble of remark- New Brunswick, Canada, on March 5, tary service during the Korean War and able compass, competence, and nerve . 2012 . She received her doctorate in while he was abroad, he became inter- From Illinois he relocated to Cleveland Music Education from the University of ested in Korean music and dance . When State University, and there he founded Illinois at Urbana-Champaign in 1995 . he retired from the military in 1967, he the Cleveland Chamber Symphony, dedi- She taught music privately and in the joined the faculty of the University of cated to new works and unconventional public schools of New Brunswick and Illinois School of Music as an Associate histories . He remained active there until Ontario . A professor at the Universite’ Professor . He was academic coordina- his retirement in 2004 . de Moncton since 1990, she was Dean tor for the Illinois Summer Youth Music I remember well my composition of the Faculty of Education from 2000 camps, traveled around the state giving lessons with London, which took place, to 2007 . She was a prolific researcher university-sponsored classes and master more often than not, in Timpone’s Italian focusing on music in second language classes in jazz, and promoted interna- restaurant (Occasionally Sal Martirano acquisition, and published extensively tional music on campus, especially that would turn up for an Italian beef sandwich) . in the major music education research of Korea and Africa . Ed invariably asked, gently and politely, journals in the United States and Canada . During his 20 years at the University for “a cup of hot water and a tea bag ”. —John Grashel of Illinois, he continued to build a solid Provided with same, he would infuse the reputation as a trumpeter . He formed bag for about three seconds (sometimes, John Alexander O’Connor (with Dan Perrino) the Dixieland jazz I swear, he just waved it over the water), band “Medicare 7, 8, or 9,” which was John Alexander O’Connor, and then we could begin . I never knew composed of fellow music professors, and born April 4, 1917, in Mil- what we were talking about . Ed and I founded to ease tensions on campus in the waukee, WI, passed away would talk until the water got cold, and tumultuous years of the Vietnam War . He in Seattle, WA on May 28, then we’d go our ways . Somehow things also performed in the Champaign-Urbana 2013, at age 96 . As a child, had always gotten better in the meantime . Symphony and with other groups . He he learned to play the A couple dozen of us were caught up, retired from UI in 1987 but continued trumpet and formed his own band, “John- one way or another, in Tala Obtusities, to perform on his beloved trumpet and nie’s Hot Socks,” when he was 10 . Music Ed’s catastrophically inventive opera . travel around the US and abroad . and especially trumpet became the cen- Some worked through the night copying He is survived by his six children, Polly terpiece of his life, and hardly a day passed parts; others tried to make sense of the Hohn, Kathryn Tessin, John C . O’Connor, when he didn’t play his horn . previous night’s production . On the stage Helen Alexander, James O’Connor, and He attended the University of Wiscon- of the Assembly Hall inventiveness and Thomas O’Connor, nine grandchildren, sin-Milwaukee and earned his tuition by hilarity alternated with confusion and and four great-grandchildren . playing various gigs around town . After despair . We did it; I’m not sure to this day college, he taught music in schools in —Ruth Stoltzfus, Managing Editor exactly what we did, but I do know that it changed me . Everything about Ed changed

winter 2014 59 Giving partners in tempo

Gifts in support of the School of Music (July 1, 2012-September 30, 2013)

The overall success of the School of Music depends greatly recognition program for those who give at the highest on the generosity of our alumni, friends of the School levels, is reserved for contributors whose outright or of Music, foundations, and corporations. We gratefully cumulative gifts total $25,000 or more, as well as those acknowledge the generous support of the following who have made deferred gifts of $50,000 or more. individuals, corporations, and foundations, who made The School of Music welcomes new contributors to gifts in support of the School of Music between July 1, the 2013-2014 honor roll. For more information about 2012, and September 30, 2013. making a gift to the School of Music, please contact Please note that members of the President’s Council David Allen in the Development office, at 217-333-6453 are designated with an asterisk (*). The President’s or [email protected]. Council, the University of Illinois Foundation’s donor

Prestissimo ($15,000 and above) Mr . Gregory A . Grieme Mr . Allan H . and Mrs . Dorothy E . Romberg Mr . Joseph R . Hanley and Mrs . Kristy L . Mr . D . Hugh Rosenbaum Mr . Paul M . and Mrs . Sharon L . Green* Mardis-Hanley Dr . Charles A . Ross* Edward J . Krolick Estate (Dec)* Mr . Raymond J . and Mrs . Bettie A . Holeman Dr . Edwin A . Scharlau II and Mrs . Carol A . James Nakada Trust (Dec)* Dr . Raymond V . and Mrs . Lori L . Janevicius* Scharlau* Mr . Mark W . Nakada* Mr . Bruce C . Johnson* Mr . Arthur Lee (DEC) and Mrs . Frances A . Prof . Bruno and Mrs . Wanda M . Nettl* Mr . Thomas J . Keegan Schlanger Mr . Paul B . and Mrs . Virginia L . Uhlenhop* Florence Kopleff Estate (Dec) Dr . Paul K . and Mrs . Susan K . Schlesinger* Ethel M . Vrana Estate (Dec) Mrs . Linda S . Kranz Mr . Frederick V . and Mrs . Willodean Simon Ruth E . Weinard Estate (Dec) Mr . David R . and Ms . Carol C . Larson Mr . Melvyn A . Skvarla* Ms . Sandra R . Leonard Judge Lawrence A . Smith Jr . and The Presto ($1,000–$14,999) Dr . Sara de Mundo Lo* Reverend Donna Hacker Smith* Mrs . Linda Allen Anderson* Dr . Peter J . and Mrs . Elizabeth M . March* Ms . Emma C . Solaun* Mrs . Fern Hodge Armstrong* Ardash Marderosian Trust (Dec)* Dr . Joan D . Solaun Dr . Alan R . Branfman* Dr . Steven E . and Mrs . Jennifer S . Mather* Mr . Glen and Mrs . Krista Strauss* Mr . Carl H . Buerger III and Ms . Sarah E . Dr . Gordon W . and Mrs . Clara H . Mathie Mr . G . Gregory and Mrs . Anne D . Chernick Buerger* Mr . Charles T . and Mrs . Trudy L . Medhurst Taubeneck* Mr . Robert C . and Mrs . Alice C . Campbell* Dr . Michael Moore* Mr . Jon Kenneth Toman Dr . W . Gene (Dec) and Mrs . Lynd W . Dr . Jeffrey Russell and Dr . Rebecca Kliewer Mr . John H . Walter and Mrs . Joy Crane Corley* Olson* Thornton-Walter* Mr . William and Mrs . Eleanor Crum* Dr . George A . Pagels* Dr . Tat-Kwan E . Yu Mr . Roger R . and Mrs . Shirley E . Mrs . Marjorie A . Perrino* Cunningham* Mr . William G . and Mrs . Cynthia N . Vivace ($500–$999) Mr . Richard C . and Ms . Jennifer A . Daniels Petefish Mr . Erwin O . and Mrs . Linda A . Arends* Ms . Nancy Dehmlow Mr . Dean A . Pollack and Ms . Lizabeth A . Beth L . Armsey* Mrs . Lynne E . Denig Wilson Mr . Theodore J . and Mrs . Sharon M . Mrs . Anne A . Ehrlich Mr . James R . Ponder and Ms . Jennifer A . Barczak Dr . Albert C . England III and Mrs . Barbara Sochacki Patrick J . Bitterman A . England* Dr . Edward and Mrs . Lois Beck Rath* Mr . Craig W . Branigan Mr . James R . and Ms . Candace Penn Frame* Donald and Gay Roberts* Mr . Clark A . and Mrs . Cynthia M . Breeze

60 sonorities Mr . Brian C . Claricoates Mr . Louis T . M . Conti Mr . David K . and Mrs . Janet K . Cooper Mr . John P . Davidson III and Ms . Shirley A . Schaeffer* Mr . Ronald T . and Mrs . Darlene Schwer Dymerski Mr . James P . and Mrs . Lauren R . Emme Ms . Sara J . Emme Mr . Michael D . Fagan Mr . Cleve W . Fenley Mr . Roger C . and Mrs . Linda C . Fornell* Prof . Marvin and Mrs . Matilda Frankel* Mr . George V . and Mrs . Bernice H . Freeman* Ms . Melva F . Gage* Mr . James J . and Mrs . Jennifer A . Gettel Mr . Andrew L . Goldberg Mrs . Elizabeth W . and Dr . Edwin L . White Kelly August 2, 2013: Friday Night Live featuring UIUC students and Robeson Elementary’s Goldwasser* Ukulele Club, led by Sarah Filkins. Ms . Kathleen A . Harvey Mr . James S . Hatch Mr . John R . Heath* Dr . Richard E . and Mrs . Carolyn B . Mr . John G . Dunkelberger II* Mr . Robert L . and Mrs . Cynthia A . Hormell* Anderson The Honorable Ann A . Einhorn* Mr . Donovan P . Hough Ms . Claretha Anthony Mr . Kristopher J . and Mrs . Cheryl M . Mrs . Kathryn A . and Mr . Alan J . Janicek Ms . Forough Minou Archer* Einsweiler Mr . Robert G . and Mrs . Cynthia M . Dr . Anton E . Armstrong Mr . Rodney L . and Mrs . Aldena L . Everhart Kennedy* Mr . Robert M . Barnes Jr . and Mrs . Lisa-Ann Ms . Dawn Fairchild Mr . Leonard G . and Mrs . Bridget G . Lingner Barnes Prof . James A . Farmer Jr . and Prof . Helen S . Marvin* Ms . Laura J . Bingham Farmer* Mr . John S . and Mrs . Virginia P . Mead Dr . Cathrine Blom and Dr . Gordon A . Virginia Farmer Estate (Dec) Dr . Stephen Tipton Miles* Baym* Mr . William T . and Mrs . Elizabeth K . Prof . William Moersch Dr . Philip V . and Mrs . Christine W . Bohlman Feldman Mr . Joseph E . and Mrs . Lois E . Morrow Mr . Joseph A . and Mrs . Jill A . Bonucci Mr . Daniel C . Feldt Mrs . Robbi Muir Dr . Gary C . and Mrs . Sandra F . Borchardt Ms . Judith A . Feutz Mr . Gerard and Ms . Whitney A . Mrs . Kathleen E . Bragle Mrs . Anne F . Flynn* Neufeld-Kaiser Dr . Robert S . Bretzlaff Mrs . Margaret A . Frampton* Dr . Philip O . and Mrs . Jennifer L . Nubel Mrs . Jennifer Williams Brown Mrs . Roxanne C . and Mr . John D . Frey* Mrs . Jean and Prof . Howard Osborn* Dr . Wesley R . Burghardt and Ms . Angela M . Mrs . Mary M . Gaddy Dr . Stephen L . and Dr . Esther Portnoy* Stramaglia Ms . Dorothy E . Gemberling* Mr . Thomas E . and Mrs . Patricia L . Mr . Ralph D . Butler Dr . David M . Gross Schrickel* Mrs . Janet K . and Mr . Jeffrey M . Carter Mr . Charles E . Gullakson Mr . Richard H . and Mrs . Janet D . Mr . Joel and Mrs . Anna Y . Catalano Dr . James B . Hancock Schroeder* Mr . Michael P . Chu Dr . James S . and Mrs . Susan Hatfield* Mrs . Christie B . Schuetz* Mr . Roger C . Clark* Ms . Heather Marie Hayes Hermanson Mr . Glendon A . and Mrs . Julie A . Schuster* Mr . Jeff Clodfelter Dr . James W . Hile and Dr . Nancy L . Dr . Dennis J . and Mrs . Patricia H . Mr . Richard B . Cogdal* Whitaker Schwarzentraub* Mrs . Laura J . and Mr . Douglas Coster Mr . Harold E . and Mrs . Liz Hindsley* Prof . Nicholas and Prof . Mary S . Temperley* Miss Judith Kay Cotter Ms . Gaye Ann Hofer and Dr . Gregory Mrs . Sandra Smith Volk* Mr . Paul Couzens Michael Cunningham Mr . Jeffrey D . and Mrs . Kimberly Ann Wahl Mrs . Mary Angela Dimit Dr . Jesse E . Hopkins Jr . Dr . John B . Weaver* Dr . Delbert D . Disselhorst Mr . Samuel M . Huber Mr . Robert L . Zarbock Mr . Charles E . and Mrs . M . Darlene Dixon Dr . Albert C . Hughes Jr . Allegro ($200–$499) Mr . Donald Rainey Dodds (Dec)* Dr . R . Bruce and Mrs . Sandra S . Huston Mr . William P . and Mrs . Donna M . Alberth Mr . Hans J . Doebel Dr . Charles F . Isaacson Mr . David G . and Mrs . Sharon M . Anderson Mr . Mark G . Duebner Mr . William A . and Mrs . Gail A . Jindrich Mr . E . Paul (DEC) and Mrs . Suzanne Duker Mr . Rick R . and Mrs . Alice Joellenbeck

winter 2014 61 Vinson M . and Linda G . Johnson Dr . Sylvia L . Ross Mr . David W . and Mrs . Jennifer L . Knickel Mrs . Janice F . and Prof . Melvin Rothbaum* planned giving Mr . John W . Koenig Jr . David T . Rubin MD Mr . Michael K . Konrad Mr . Kenneth W . Rubin Ulrich E . and Mary U . Kruse Mr . Robert John and Mrs . Elda Louise Creating A Legacy of Mr . William J . and Ms . Carol A . Kubitz* Ruckrigel Excellence Mr . Frank L . Kuchuris Dr . Margaret L . Sarkissian Mr . David D . Kullander Mr . Thomas K . and Mrs . Cheryl M . Scanlan A significant portion of the School Mr . Herbert Schneiderman Mr . Andrew M . and Mrs . Susan M . Kunz of Music’s annual gift income comes Dr . Gerald E . and Mrs . Ellen Green Mr . Wallace B . and Mrs . Patricia J . Schroth Kuroghlian Mr . Steven P . Seaney from realized bequests from our Mr . Ronald P . and Ms . Joan R . Larner Ms . Meenal A . Sethna alumni and friends. Donors who James E . LeGrand MD Mr . Benjamin H . and Mrs . Amanda Leonard remember the School of Music in Dr . William A . Longacre Shanbaum their estate plans provide critical Mr . Stephen J . Madden III and Mrs . Janet M . Mr . Ralph E . Shank (Dec) funding to establish scholarships, Mrs . R . Janice and Prof . Donald R . Sherbert Madden awards, fellowships, and other student Mrs . Deborah A . and Mr . Ricky Mason Dr . Marilynn J . Smiley Mr . William H . May Dr . William J . Stanley and faculty support. Mrs . Joanne J . McIntyre* Mrs . Elizabeth M . Starkey and Mr . Elmer The School of Music would like to Mr . Patrick G . Meehan and Ms . Julie A . Starkey Jr . recognize the following alumni and O’Connor Mr . Dennis M . Steele friends who have chosen to remem- Mrs . Anna J . Merritt* Mrs . Janine Sue Stoyko ber the School through a bequest, Mr . William J . Susman Mrs . Ellen M . Mettler charitable trust, or other planned Mr . Craig R . and Mrs . Margaret Resce Ms . Jennifer L . Hested and Mr . Joseph A . Milkint* Swayne gift vehicle: Mr . William R . Miller and Mrs . Martha Mr . Mark D . and Mrs . Regina G . Taylor Anonymous Behr-Miller* Marie Griffith Tompkins* Mrs . Linda Allen Anderson Mr . LeRae Jon Mitchell Mr . Walter and Ms . Joan Tousey* Mr . Alan J . and Mrs . Joyce D . Baltz Mr . Jeffrey Leigh Modlin Mrs . Molly Mangan and Mr . Timothy W . Mr . Norman I . and Mrs . Mary Jane Beasley Ms . Ruth A . Moore Tracy* Mr . Patrick J . Bitterman Mr . Mark W . Mosley and Mrs . Sarah J . Mr . David A . and Mrs . Deborah M . Trotter* Prof . Stephen Blum Good George Unger Trust (Dec)* Mr . David A . Bruns Mr . Craig and Mrs . Sheri Myers Ms . Diane K . Walkup Mr . Richard R . Clark Mr . Frank H . Mynard III and Mrs . Suzanne Mr . Russell A . and Mrs . Cheryl L . Weber* Mr . Stanford J . Collins Mynard* Mr . Gerald G . and Mrs . Mary Beth Mr . Roger R . Cunningham Dr . Daniel M . and Mrs . Arundhati Neuman Weichbrodt Mrs . Edna M . Filson Mr . Lee E . Nickelson Jr . and Ms . Lynda S . Mr . Duane H . Werner and Mrs . Bonnie Mr . James R . and Mrs . Candace Penn Frame Dautenhahn Johansen-Werner Mr . Preston L . and Mrs . Cathy L . Gale Dr . Kenneth G . Nolte Mrs . Ellen M . West Dr . Edward N . and Mrs . Ferial Hook Mr . Thomas R . Oakley Mr . John E . and Mrs . Nancy J . Whitecar Mr . Donald M . Haupt Jr . Dr . K . Daniel and Dr . Susan G . Gilbert Mr . Richard Lee Williams Mr . Larry R . Houtz O’Leary Mr . Rodney J . and Mrs . Susan M . Williams Dr . Raymond V . and Mrs . Lori L . Janevicius Prof . Susan H . Parisi and Prof . Herbert Ms . Susan J . Williams Mr . Bruce C . Johnson Kellman Mr . James T . and Mrs . Cheryl B . Wormley* Mr . Dean T . Langford Dr . Karin A . Pendle Mr . Larry and Mrs . Sandy Zabinski Mr . Randall S . Lindstrom Ms . Diane E . Penny Prof . Richard E . Ziegler* Mr . Michael J . and Mrs . Barbara C . Mr . Ronald A . Potsch McDonnell Dr . William P . Potsic Allegretto ($100–$199) Dr . Peter A . and Dr . Sharon D . Michalove Mr . Michael W . Pressler Dr . Daniel C . and Mrs . Olga Adams Dr . George W . and Dr . Tamara T . Mitchell Mrs . Janet S . and Mr . Michael W . Preston Dr . Montgomery M . Alger Mr . William T . Scott III Mr . Christopher J . Pruetting Mr . Eddie K . and Mrs . Donetta S . Allen Mr . Frederick V . Simon Dr . Carol P . Richardson Kenneth W . Altman MD Mr . R . Marc Sims Jr . Mr . Luzern A . Richter Prof . Carl J . and Mrs . Nadja H . Altstetter* Mr . Robert V . Sperlik Jr . Dr . Kevin W . Rockmann Mr . Glen R . Anderson Mrs . Diane H . Staub Mr . Jeffrey L . Rohr and Mrs . Joyce Mr . Glenn R . Anderson Mr . Craig B . Sutter Kim-Rohrer Ms . Dianna K . Armstrong* Mr . David A . and Mrs . Deborah M . Trotter Prof . Barak Rosenshine Ms . Sharon Marie West Mr . Robert L . Zarbock 62 sonorities Mr . Charles C . Aschbrenner and Chris T . Mr . Robert F . and Mrs . Lisa Doak Mrs . Ann and Mr . Bill Gray Spencer Mr . C . William and Mrs . Kay W . Douglass Mrs . Paulette K . and Mr . Anthony F . Mr . Larry J . Ashley Mr . Fred H . Drummond Graziano Dr . Robert A . and Mrs . Connie Atkins* Ms . Marilyn M . Duginger Dr . John Edward Greenleaf* Dr . David F . Atwater The Reverend Wyeth W . Duncan Mr . Glen E . Gullakson Ms . Susanne L . Aultz Dr . David Eiseman Dr . Ernest N . and Mrs . Lois E . Gullerud* Mrs . Virginia A . Baethke Mr . Thomas J . Erb Mr . John W . and Mrs . Michelle S . Hackett Ms . Bridget M . Baker Mr . Perry W . Ergang Mr . Richard K . Haines Dr . David C . and Mrs . Debra S . Barford Mr . Frederick D . and Mrs . Constance A . Mrs . Rebecca Hanson* George O . and Sandra L . Batzli* Fairchild Ms . Margaret L . Harlan Mr . James A . Beckwith Mr . Scott D . and Mrs . Susan Antrim Mr . Matti Harm Dr . Robert S . Behnke Feldhausen Dr . Albert D . Harrison Dr . Michael D . and Mrs . Judith K . Bennett Mr . Timothy A . and Mrs . Anne Hastings Mr . Joseph C . Hartman Prof . Richard J . and Mrs . Carol A . Betts* Fiedler Mr . Edward W . Harvey and Ms . Cynthia Mr . Richard B . Biagi Mr . Neil M . Finbloom Capek* Mr . Ronald T . Bishop (Dec) Mr . Robert G . Fisher Mr . Scott Douglas Hawbaker Dr . Jonathan T . and Mrs . Sarah L . Black Mr . Douglas W . and Mrs . Karen Clausius Mr . John J . and Mrs . Marilyn H . Haynie Mr . Alan W . and Mrs . Maria C . Blair Fitzgerald Mr . Dennis Helmrich Dr . Charles W . Boast and Ms . Marsha Dr . Diane Foust and Mr . James A . Nelson Dr . Paul R . Herman Clinard Prof . Douglas A . and Mrs . Margaret Ann Mrs . Sally K . Hermann Ms . Marlah Bonner-McDuffie Foutch (Dec) Mr . Steven Kenneth Hesla Dr . Richard D . and Mrs . Peggy S . Bradley Mr . Brent E . Frank Ms . Lisa A . Hopkins Dr . Brenda L . Brak Mr . Brad A . Friedman Ms . Jane P . Hummel Dr . Glen M . and Dr . Betty L . Broom Prof . Stanley Friedman Mr . Christopher A . and Mrs . Peggy S . Mr . Gordon R . and Mrs . Holly N . Broom Dr . Kathleen S . Gaylord Huson* Dr . L . Kathryn Bumpass Mrs . Cheryl S . and Mr . James B . Gibson Mrs . Ingrid Hutchings* The Reverend Stephen S . Burgener Mr . Mark C . Gillen Mr . Eric M . Hutchins Mr . Jim and Mrs . Kimberly W . Burson Mrs . Marjorie A . Glossop Mrs . Janice C . Impey Mr . Christopher R . Butler Mr . Joseph Dale Goble* Mr . John A . Jackanicz Mrs . Luana M . and Mr . Charles M . Byte Mr . Thomas E . Goettsche Dr . Barbara G . Jackson Mr . Stanley R . Cain Mr . Perry E . Goldberg Ms . Lenrose Jahiel Dr . Donald G . Caldwell Mr . Nicholas Good Mr . Everett M . James III Mr . Fernando R . Campos Dr . Joe W . Grant Jr . Mrs . Laurine Jannusch Ms . Sandra Carr Mrs . Sandra R . Casserly Ms . Clara E . Castelo Mrs . Mary A . Champion Dr . Peter M .J . Chang and Ms . Jean Liu Mr . Henry E . Charles Mr . Thomas E . and Mrs . Amy A . Clark Mr . Gregory G . and Mrs . Susan M . Clemons Dr . Stephen E . and Mrs . S . Conrad Dr . Gerard J . Corcoran Mrs . Ruth L . Cortright Mr . Robert E . Cowan Ms . Doreve A . and Mr . Richard B . Cridlebaugh Prof . James F . Crowley Dr . Warren J . and Mrs . Marsha K . Darcy Mrs . Marguerite L . Davis Mr . Michael B . Davis Ms . Deborah M . Day* Mr . Robert F . and Mrs . Marthel J . Delaney Mrs . Susan B . DeWolf Ms . Marie-Elise Diamond Russell B . Dieterich MD Davis Watts Photo Courtesy of Ollie August 25-September 2, 2013: The UI Black Chorus traveled to Costa Rica for the Cross- Mr . Gerald R . and Mrs . Cathy L . Ditto Cultural Performance and Study Tour as Promising Artists of the 21st Century.

winter 2014 63 Dr . Gladys L . Phillips-Evans Mr . Kenneth R . Pletcher Mrs . Margaret M . Pokin Mr . Justin K . Poole Dr . Michael Joseph and Mrs . Diane M . Potts Mrs . Alice A . Prickett* Mrs . Karyn A . Quandt Mr . Roland H . and Mrs . Kelly A . Raffel Mrs . Robert A . Raich Mr . Stanley E . Ransom Ms . Phyllis Rappeport Mr . Richard L . and Mrs . Alexis G . Rasley Dr . Sam Reese Dr . Lou and Mrs . Sue Ann B . Reinisch Mr . William D . and Mrs . Barbara J . Rice Mr . John Richard Michael Holmes Photo Courtesy of J . Michael Mr . George G . Richardson March 1, 2013: The University of Illinois Saxophone Studio performed in the opening Mrs . Cheryl Lynn Richt concert of the North American Saxophone Alliance Region V conference held at Bowling Green State University. Mrs . Lois M . Richter Mr . Robert J . and Mrs . Diana L . Rogier Mr . William T . and Dr . Julie Dierstein Dr . Walter J . and Mrs . Marguerite F . Mrs . Kathryn M . Romans Jastrow Maguire* Mr . Stephen C . Ross Mr . Wallace E . Jobusch Mrs . Constance A . Marigold* Mr . Stephen K . and Mrs . Deborah C . Rugg* Carlyle W . and Judith M . Johnson Mr . Richard S . Marsho Dr . Robert W . Rumbelow Dr . Clifford B . Johnson Jr . and Dr . Cristina Ms . Anne S . Martel Mr . Joseph G . and Mrs . Lisa A . Sanstrom N . Medrano* Mr . Michael A . and Ms . Julia G . Maschek Mr . Joel D . and Mrs . Sarah L . Schad Dr . James R . Johnson Mrs . Patricia L . McKenzie* Mr . Ralph S . Schlesinger Mrs . Mary L . Johnson Mr . Myron D . and Mrs . Nancy Ellen McLain Dr . Steven E . Schopp Dr . Richard B . and Mrs . Terri J . Jonas Mr . James H . McNeely Mr . John F . and Mrs . Nancy K . Schwegler Mr . John H . Kalivoda* John W . Meyer MD Mr . Aaron T . and Mrs . E . Regan Shepley Dr . Dennis K . M . Kam Mr . Brian C . and Mrs . Kimberly O . Miller Ms . Teresa A . Shine Mr . Kristofer D . Kasten and Ms . Alison M . Mr . Dale E . and Mrs . Rita J . Millis Mrs . Ellen and Mr . Marc Singer Schoen Mr . Brian S . and Mrs . Bonnie J . Mitchell Mr . John D . Skadden Mr . Charles W . and Mrs . Joanne W . Kelly Mr . Keith A . Mitchell Gregory L . Skuta MD Dr . William R . and Dr . Carol Ritzen Kem Dr . Robert W . Molison Mr . Terry S . and Mrs . Katharine E . Slocum Ms . Terra L . Kern Mr . David R . and Mrs . Sherri L . Morris Dr . William C . Smiley Mr . R . Edward and Mrs . Barbara Kiefer Mrs . Nancy F . and Dr . David W . Morse* Mr . Donald L . Smith Mrs . Karen L . Kimball Ms . Phyllis Brill Munczek Mrs . Suzanne K . Smith Mr . Peter S . and Mrs . Brenda K . P . Kimble Dr . Robert D . Mussey* Mr . Jon D . Sokolski and Ms . M . S . Dodds* Mr . Cory N . Kniepp Dr . Walter L . and Ms . Jane L . Myers* Mrs . Elizabeth M . Spencer Dr . Kent L . and Mrs . Karen A . Knoernschild Ms . Lisa K . Mysnyk Mr . David D . Sporny Mrs . Nancy J . Krumpolz Mr . Fredric G . Nearing* Mr . M . Andrew Sprague* Mr . George M . and Mrs . Sara R . Kuhns Mrs . Gerda T . Nelson Mr . Brian K . and Mrs . Wendy Stabler Mrs . Joyce M . Laible Mr . William J . Nicholls Mr . Robert E . and Mrs . Kathleen M . Stalker Prof . David A . and Mrs . Rise R . Lange* Mr . Nicholas A . Nicholson Dr . David B . Stein Mrs . Barbara A . Lanham Dr . Kim R . Nickelson Nancy E . Stutsman Mr . David William and Mrs . Barbara R . Mr . Gerald R . and Mrs . Mary Ann Norton Mrs . Blanche J . Sudman* Lembke* Dr . Timothy J . and Mrs . Jeanette M . Nugent* Mr . Willie T . and Mrs . Valerian A . Terry R . Lepper DVM Mrs . Marjorie S . Olson Summerville Mrs . Susan S . Lewis Mr . Adam J . Orton Dr . John N . Sumrall Jr . Mr . Blake W . Linders Dr . David C . and Mrs . Darcy J . Osterlund Mr . Kevin W . Sutherland Mrs . Marilyn T . Lindholm Mr . Michael T . O’Sullivan Mr . Laurence E . and Mrs . Marlene J . Svab Mrs . Joanne M . Lockard Jean Paley* Mr . Scott L . Swinderman Dr . Earl W . and Mrs . Lavina E . Lowry* Mr . Robert F . Pattison Emile J . and Elizabeth M . Talbot Dr . Laura J . Luckadoo Mr . David L . Patton Mr . John A . Tenuto Jr . Prof . Morgan J . Lynge Jr . and Mrs . Brenda Dr . Linda W . Perry Mr . Lawrence E . Thee Callahan Lynge* Dr . Roscoe L . and Mrs . Annette E . Pershing* Mr . Timothy K . Theesfeld

64 sonorities Mr . William P . Theisen and Ms . Amy A . McArthur Mrs . Jacqueline A . Tilles Ms . Karen and Mr . Jerry Tow* Mr . Robert L . and Mrs . Mary W . Towner Mr . Michael A . and Mrs . Olivia L . Tremblay Ms . Irene A . Turner Dr . A . Robert and Mrs . Mary K . Twardock* Michael L . VanBlaricum PhD and Pamela Calvetti VanBlaricum PhD* Dr . Paul J . Vander Gheynst Mr . John Austin Van Hook Dr . Robert C . Van Nuys Mrs . Angelija Vasich Mr . Donald and Mrs . Maria Vasich Mr . Milton and Mrs . Carol R . Vasich Mr . Edmond D . Wade Mrs . Lynn E . Ward Dr . Calvin E . Weber Mrs . Mary Jane Weber Summer 2013: From left to right: Tony Qui (tenor from Hong Kong), Dr . Morton W . and Mrs . Cecelia A . Weir* Sylvia Stone (director of the program for young opera singers at Mrs . Betty S . Whiteside Sant’Angelo in Vado and Professor of Voice UIUC), Lee Steiner (MM Mr . Roger M . Widicus tenor at UIUC), Dolly Hsu (DMA pianist at UIUC), Francis Diaz (pianist Dr . Robert A . and Dr . Jacqueline H . Wiggins from Bogota’, Colombia) gather just before a concert in the Castello Mrs . Dorothy W . Williams* Brancaleone, Piobbico, Italy. Mr . Russell A . Willis Mr . Keith L . Wilson Harry A . Rice Insurance Agency Matching Gifts Mr . Jack R . Wise The Hindsley Transcriptions, Ltd . Dr . Daniel J . Wolf American International Group, Inc . Illinois Opera Theatre Enthusiasts Prof . John Wustman* Ball Corporation Josephine B . Sokolski Charitable Trust #2 Prof . Scott Alan and Mrs . Marian Kuethe The Boeing Company M . R . Bauer Foundation Wyatt BP Foundation Mark Foutch Brass Band Dr . William R . YaDeau Country Insurance & Financial Services Massey Family Dentistry, PC Edison International The Mintel Family Corporations, Foundations, and ExxonMobil Foundation Mullins Food Products Organizations First Midwest Bancorp, Inc . One Main Development, LLC GE Foundation Background Research Reports, Inc . Opera Illinois League Genentech, Inc . Carle Foundation Our Lady of Loretto Men’s Club HSBC Bank USA The Chicago Community Foundation Paxton Farms, Inc . IBM Matching Grants Program Community Foundation of East Central The Presser Foundation Illinois Tool Works Foundation Illinois RLI Insurance Company Intel Foundation ConAgra Foods Lamb Weston Roe Family Trust Ireetec Incorporated U of I Dad’s Association, Inc . The Safeway Group Lockheed Martin Foundation The Denver Foundation Schreiber Foods, Inc . Nokia Initiative for Charitable Employees East Balt Commissary, Inc . Schwab Charitable Fund Pepsi Bottling Ventures Fidelity Charitable Gift Fund Sigma Alpha Iota Sigma Delta Chapter Pfizer Foundation Gavlin Family Foundation Sound Enterprises PNC Foundation Gibson Electric Company Sperry Consultation Service Qualcomm Incorporated Glen Anderson & Associates, LLC Student Foundation of I .S M. .T .A . State Farm Companies Foundation Golden Lyre Foundation IL Federation of U S. . Charitable Gift Trust Tampa Bay Times Fund Music Clubs Vanguard Charitable Endowment Program Texas Instruments Foundation Haines & Associates Ltd . WU WEI Music Thomson Reuters Wells Fargo Foundation

winter 2014 65 Non-profit Org . ADDRESS SERVICE REQUESTED U .S . Postage PAID Permit No . 100 Champaign, IL

1114 West Nevada Street Urbana, Illinois 61801

See website for full list of offerings:

SENIOR HIGH ISYM Academy* Band Chorus Orchestra Composition/Electronic Music Jazz Musical Theatre Piano Rock Band/Song Writing PRE-cOllEGE PROGRamS Bassoon Percussion Cello** Saxophone Clarinet Trombone Flute Trumpet Horn Viola** Oboe Violin**^ JuNIOR HIGH Band 2014 Dates June 15-21 June 22-28 July 6-12 Chorus Jazz Orchestra Piano Rock Band/Song Writing

*The ISYM Academy is an accelerated track within the large ensemble programs at the senior high level. Based on opening day auditions, a limited number of students from Senior Band, Orchestra and Chorus are selected to receive private lessons and/or a chamber ensemble placement in addition to the large ensemble experience. **String Institute @ ISYM - June 22-28, Violin, viola and cello study with emphasis on chamber music. Faculty to include the Jupiter Quartet, Rudolf Haken and Dmitry Kouzov. ^Advanced violin class with Stefan Milenkovich, June 8-14