WINTER 2008 FOR ALUMNI, PARENTS AND FRIENDS OF THE EASTMAN SCHOOL OF MUSIC FROM THE DEAN

“Making Music Matter”

Since arriving from the University of Cincinnati’s College-Conservatory of Music on August 1, 2007, I have had the good fortune of immersing myself in Eastman’s rich history, culture and resonance. Eastman arrived at this elevation with a strong sense of its own mission, an abiding aspiration for excellence, and an abundant ethos of leadership. Its faculty and students are motivated and in- spiring; its supporters, most particularly its alumni, are devoted, eager to hear about the school’s next chapters, and committed to perpetuating an Eastman agenda that will shape and inspire our musical culture well into the future. As you will read in the following pages, the Eastman Theatre Renovation and Enhancement Project is well underway. It will, upon completion, transform our NOTES performing and teaching capabilities, helping to fulfill Volume 26, Number 1 George Eastman’s dream. We have also been engaged Winter 2008 in authoring our strategic plan for Eastman’s future, entitled Empowering the Eastman Advantage, critically Editor examining Eastman’s strengths and its position in the David Raymond domain of internationally renowned music schools. We Contributing writers believe the Eastman experience is unique because it in- Ruth Cahn Douglas Lowry fuses traditional musical values with the fresh energy Marie Rolf of innovation, setting us apart from many of our excel- Contributing photographers lent peers. Most importantly, though, we are defining Richard Baker Eastman’s leadership role in creating the music school Steve Boerner of the future. I think it is fair to say that at no time in Kurt Brownell history have we experienced such a breathtaking trans- Po Yao Chen Douglas Lowry Gelfand-Piper Photography formation in music content, presentation, and connec- Janet Robbins tivity. Eastman must not only lead this conversation, but translate our insights Photography coordinator into creating a future that is not only of high artistic content, but music that Karen Ver Steeg establishes a meaningful and vibrant human connection between composers, Design performers, scholars and audience. Steve Boerner Typography & Design Among many of Eastman’s assets are its strong partnerships, some of which Carrie Principé include the Rochester Philharmonic Orchestra, the George Eastman House, and, of course, the University of Rochester. Our ever-enlivening relationship with the Published twice a year by the Office of Communications, Eastman School of River Campus will, we believe, vitalize our institutional possibilities. Music, 26 Gibbs Street, Rochester, NY, I am honored to be Eastman’s sixth dean, and equally excited about getting to 14604, (585) 274-1050. know the Eastman family. This is a culture bound by exemplary and adventure- [email protected] some teaching, creativity, and scholarship. Its ethos is founded on two simple tenets. First, that teaching matters when it transforms the student; second, that music matters when it transforms the listener. Our driving Eastman ambition, therefore, is to make music matter. Join us.

10% Total Recovered Fiber Douglas Lowry 100% Post-Consumer Fiber Dean

photograph by Gelfand-Piper Photography (Music Stands) INSIDE

FEATURES 5 Eastman turns up the heat Eastman’s newest dean on figuring out where we’ve been and where we’re headed 7 The alchemy of the muse In his inaugural address, Dean Douglas Lowry muses on how to make music matter 12 90 years in the making George Eastman dreamed big in 1921, and his dream house will be complete in 2010 A theatre and school reborn: Eastman’s big new 12 2 COMING EVENTS plans for renovation 3 LETTERS 1 4 SCHOOL NEWS 22 ALUMNI NOTES 25 EASTMAN ALUMNI ON CD 27 EASTMAN ALUMNI ON DVD Eastman’s first 7 21st-century dean has 28 IN MEMORIAM a 21st-century message 3 2 SHOWING OFF 34 FACULTY NOTES 35 EASTMAN FACULTY ON CD 36 STUDENT NOTES

Eastman alums are heard 27 and seen on CDs and DVDs

Eastman Opera 17 Theatre sends in the Sondheim

ON THE COVER: Ricardo Zohn-Muldoon’s music inspired the latest Garth Fagan dance piece, EDGE/JOY, first ON THE INTERNET: More news about the Eastman School of Music, performed in Rochester and in New York this fall. including the full text of Notes and expanded alumni information, can be found online at www.esm.rochester.edu.

Architectural rendering by robert macon; richard baker (lowry); los angeles opera (mcdonald and griffey); gelfand-piper photography (eastman opera) Yehudi Wyner Coming Events

February 12–March 7, 2008 • Pulitzer Prize–winning composer in the 2008 Kaplan/Newsweek “How to Get Into College Guide” Yehudi Wyner, Howard Hanson Visiting Professor of Composition

March 24–28, 2008 • Women in Music Festival 2008 With composer-in-residence The University of Rochester’s Eastman School of Nancy Van de Vate Music was named “Hottest Music School,” and April 3–6, 2008 • Eastman Opera Theatre one of the 25 hottest schools in America, in the 2008 Lehár: The Merry Widow Kaplan/Newsweek “How to Get Into College Guide.” June 29–August 7, 2008 Eastman earned this distinction for offering: • Summer at Eastman 2008 Alumni discount! New • The very best musical and academic training offerings include: Plays Well with Others (accompanying • Innovative institutes and trendsetting course), Alternative Styles: Opening Musical Worlds (music entrepreneurial programs education), and more! Visit www.esm.rochester.edu/ • A warm and supportive musical community summer

September 26–28, 2008 • David Oistrakh Festival “ Eastman students are challenged to make their Centenary tribute to the great Russian violinist superb music and scholarship matter.” — Dean Douglas Lowry October 16–20, 2008 • EROI Festival 2008 Inauguration of the Craighead- Saunders Organ at Christ Church

October 17–19, 2008 • Eastman Weekend/Meliora Weekend 2008

2 Eastman Notes | Winter 2008

Notes_HOT25_ad.indd 1 2/12/08 1:47:15 PM LETTERS

of Music 50th Anniversary Year (1971Ω1972). The spread includes other photos of attend- ees and Chuck Mangione’s quartet, which included Gerry Niewood on saxes, Ron Davis on drums, and a bass player who is only seen from the back (if this incarnation of his quartet was the same as on his 1972 Mercury release The Chuck Mangione Quartet, the bass player is Joel Di Bartolo, but I can’t tell from the photos). I remember attending the Dancing the night away with Chuck party, which was held in the dining hall of Mangione, Christmas 1971 the Prince Street men’s dorm. The groovy dancers in your photo include Jim Shake (trombone, ’74) and Rhonni Brocks (violin, HJBB:G'%%, 6B6<6O>C:;DG6AJBC>6C9;G>:C9HD;I=::6HIB6CH8=DDAD;BJH>8 That 70s show ’75) at left foreground. Also in the photo are Our Chuck Mangione tribute mystery photo Les Hicken (clarinet, ’75), Audrey Morrison in the summer 2007 Notes got an excellent (trombone, ’75), Al Denike (bassoon, ’74), (and, we assume, mostly accurate) response. the 1971Ω72 yearbook. Sorry, not much help and I believe it is Kurt Studier (oboe, ’75) We’ve printed the letters in the order we re- on names, but I was there. with his black tuxedoed back to us. I’m sure ceived them; if you read carefully, you’ll notice Alane Schreier Gruber (bm ’74) others will contribute their identifications some discrepancies in people’s memories, but Washington, NJ as soon as they see the photo. Good luck and we’ve printed everyone “as is” (and reprinted good memories. the photo, for your own student-spotting). I have a hard time believing that a photo Jim Daniels (bass trombone, ’75) from only 36 years ago could be a mystery Stroudsburg, PA Wow, your mystery photo in the sum- photo, but time has passed quickly. The mer Notes took me back a few years, about photo was taken on December 6, 1971, at The event was the Christmas Party in the 35 to 36 years. This photo was taken in the the holiday dance in the main dining hall Dining Room of the University Avenue Dining Hall of the Prince Street campus of the Eastman dorm. It also appears in the dorms on December 6, 1971 (page 24Ω25 in in either the fall of 1971 or the spring of 1971Ω72 Score. the 1971Ω72 yearbook). Dean [Flora] Burton 1972, and I believe that it was the last time With the help of Mike Tarentino (bm was even there! The gentleman with the im- that we had to dress up for such an event. ’75), I have been able to identify some of pressive moustache I believe is Jim Hoskins I know, because I remember being there. the students. The front row is Jim Shake (’74), but not sure who he is dancing with. Chuck Mangione played, as did a number (’74), Rhonni Brocks (’75), back to camera Between them are a couple of familiar faces, of Eastman people. I can’t remember most and dark suit, Kurt Studier (’75), and back at least to me. One is Leslie Hicken (’75) of the names in the photo, but do recognize to camera, lighter suit, Mike Tarentino. and the other is Audrey Morrison (’75). I Candace Barnowski (soprano) in the top Across the back are Mary Beth Vandura (’75), think I too might be hiding somewhere in left, and Audrey Morrison (trombone) just Audrey Morrison (’75), Les Hicken (’75), that shot. in front of her. I don’t remember the name of Pete Grenier (’74), James Alan Denike (’74), Alan Denike (bm ’74) the guy in front of her but I think he played Penny Currier (’75), and Dan McCooey (’75). Regina, SK, Canada clarinet. In the center in the tie is Madison The band playing for the dance was Chuck Pruitt, organist, and I think that’s Jim Pugh, Mangione, Gerry Niewood, Pat Labarbera, The mystery photo in the Summer 2007 trombone, bottom left. and Steve Gadd. issue of Notes was taken at the Christmas Dennis Maxfield (bm ’75, mm ’78) Ernie Seeman (bm ’75) Dance held at the Prince Street dorms Canandaigua, NY Scotch Plains, NJ on December 6, 1971. This picture (along with four others) appears on pages 24Ω25 Finally … a picture I recognize. Your I’m sure that the “mystery photo” on page 3 of the 1971Ω72 Eastman Yearbook (50th mystery picture was taken at the Christmas of your Summer 2007 issue will not remain a Anniversary Year). I am the fellow at the Dance of 1971. It was held in the Dining Hall mystery for long. As soon as I saw it, I knew left foreground with the striped slacks. I was and Munroe Lounge (of the old residence that I had seen it before. Sure enough, that dancing with Rhonni Brocks (now Rhonni hall). You are correct: Chuck Mangione and photo is part of a two-page spread titled Hallman) ’75. Chuck Mangione’s quartet his quartet were there … just on a break. “Christmas Dance: December 6, 1971,” in the provided the music for that dance. The The photo (and others of the party) are in somewhat dark publication Eastman School woman to my left with her back turned may

Winter 2008 | Eastman Notes 3 LETTERS

be Vicki Snyder ’74 (thanks to help from Bob “School News”] was a dorm student advisor chestra, and organ titled The Word Eternal, Neusatz ’75). when I was a freshman in 1958. he asked me to conduct with the Roch- After graduating and then receiving an Perry Martin (bm ’62) ester Civic Orchestra and a chorus I had MBA in Finance, I have been working as a Lake Worth, FL trained. (I believe I was the first person pension and health care consulting actu- to conduct the Civic.) ary in Central New York. I am a member We were both very fond of Dr. Hanson (five years now) of a national professional Memories of and saw him occasionally during my years committee advising Congress and other at Juilliard and teaching at the University of regulators regarding multi-employer pen- Hendl and Hanson North Carolina in Greensboro. Finally when sion plans (the A.F. of M. plan is a multi- I always enjoy reading Notes, but I don’t see we were on a visit with Alma’s parents in employer plan). many references about the early ’30s, even in Spencerport, we saw Dr. Hanson in the hos- I have kept up on the music performance the obituaries. I wonder if I may be the last pital shortly before he passed away. side by playing trombone and percussion for member of the class of ’32. I wasn’t a few Paul Oncley (bm ’32, mm ’34) the last four years in the Syracuse University years back. My wife, formerly Alma Lissow, Oberlin, OH Brass Ensemble, a 30+-member comprised of died in 2003 at the age of 98. She had a per- SU faculty and other adult musicians in the formance bm in piano (’32), a bm in organ Thank you for the tribute to conductor area. The ensemble (through the SU School (’33), and we both got our mm in composi- Walter Hendl. It was my privilege and plea- of Liberal Arts) recently commissioned a tion in ’34, all from Eastman. I got my PhD sure to perform for him as principal percus- piece by Robert Ward ’39 to play at the 2008 from Columbia in ’52, and she her DSacM sionist in the Eastman Philharmonia, and as a dedication of SU’s new Life Sciences build- from Union Theological Seminary in ’60. percussionist in the Rochester Philharmonic. ing. I was recently named to the Ensemble’s My first meeting with Dr. Hanson was An example of his good work was conduct- board of directors. at Interlochen in the summer of 1931. ing a performance of a work by music theory I occasionally see Ernie Muzquiz (mm Alma’s first acquaintance was essen- professor Robert Gauldin. I also did cym- ’71) and Ed Castilano (bm ’76) at Syracuse tially Hanson’s arrival at Eastman. I was bals in a piano concerto, Prokofiev’s Fifth Symphony events. able to rehearse and play in all his American Symphony, and Shchedrin’s Carmen Ballet James C. Shake, Jr. (bm ’74) Composers Concerts in the seasons from with Eastman grads John Beck, Bill Cahn, Marcellus, NY fall 1931 through spring 1935. We both and Ruth Cahn. Bob Becker was part of a attended the only class he taught—a course reading session of a Strauss tone poem. I think the young lady whose head is show- in Modern Harmony—and he supervised These were some of the highlights of my ing is Audrey Morrison, my trombone stu- our orchestral compositions for the Master’s career, and I thank the Eastman School for dent from Mamaroneck, NY. Chuck and I theses. He conducted Alma’s dissertation, providing them. were good friends at Eastman. Vince Lenti a piano concerto, but when it came to Geary Larrick (dma ’70) [whose photo also appeared in this issue’s mine, a tone poem for small chorus, or- Stevens Point, WI

A meeting with Menotti

The death of Gian Carlo Menotti early in uled premiere, and that when the remainder 2007 reminded us that in the early 1980s, the of the score arrived it was completely water- Pulitzer Prize-winning composer-librettist of logged and had to be dried by hair dryers. The Medium, Amahl and the Night Visitors, Oddly for a unique work by such a famous and many other operas wrote one of his rare composer, Menotti’s concerto is seldom per- instrumental works for an Eastman faculty formed, but VanDemark thinks it ought to member—a double bass concerto for James be, calling it “lyrical, accessible, and light: a VanDemark (current professor of bass), who big, elegant divertissement.” (The concerto performed it with Zubin Mehta and the New is published by G. Schirmer.) York Philharmonic in the fall of 1983. The master of operatic drama provided some Have you ever had an interesting encounter drama in producing this work: VanDemark (pleasant or otherwise) in preparing a new recalls that Menotti delivered the score piece by a famous composer? If you have, (incomplete) just six weeks before the sched- please write Notes and tell us about it!

PHOTOGRAPH COURTESY EASTMAN ARCHIVES “Eastman turns up the heat” Douglas Lowry, sixth Dean of the Eastman School of Music, delivered his first Convocation address to faculty, staff, and students in Kilbourn Hall on September 6, 2007.

ell, this is one terribly exciting moment for us all. Faculty and students have come back from active, productive summers: Europe, the Far East, other music schools, Aspen, festivals, retreats. WFor the new students in the room trying to get their bearings at the Eastman School, I feel your pain. I’m new, too, trying to know where I’m headed—if I’m on 390 as opposed to 490 as opposed to 590 (or whatever those num- bers are). But we have some very exciting things to look forward to, especially now that we’re known as the “hottest school for music” in the land. I know we’re pumped up with a cer- tain amount of civic pride. And justifi- ably so. We have banners and a ribbon on the web site. We’ve sent hundreds of letters to alums and supporters, and everyone in the Eastman family is jus- tifiably proud. The legacy of the Eastman experience is not only unique. It’s deep, it’s rich, it’s studded with graduates who have gone out into the world and fashioned ground-break- ing performances, redefined music by carving new territory with their compositions, produced scholarship filled with penetrating insight about our music, transmitted their knowledge and excite- ment to legions of students hungry to learn how to play and hear and study and in turn transmit … music.

Winter 2008 | Eastman Notes 5 Our faculty is one of the most distinguished in the world. To be sure, ments occurred when his music was spun inside the rich cocoon of their artistic and scholarly gifts and accomplishments are formidable. narrative. What resulted? Not just some great ballet music, but great But they possess this extra dimension: an undying need to excel at that music in general: from Petrushka to The Firebird to The Rite of Spring. greatest of art forms, the art of teaching. To the students in the room: Wagner was the consummate multi-media artist, conceiving his own our faculty’s goal is to inform you, inspire you, cajole you, question music dramas and writing his own libretti. Steve Reich has teamed you, and, sometimes, yes, yank your chain. But our faculty members up with his partner Beryl Korot to create a fusion of music and video have entered into a compact: we will not allow ourselves to rest on experiences. Eastman grads themselves assemble creative teams of our laurels. What distinguishes the Eastman faculty is its unsurpassed their fellow Eastman alums to design visual backdrops for music. zeal for advancing our storied Eastman standards even higher. I think, frankly, this is central to the Eastman legacy: this passion to always get would argue that throughout history, some of our finest better, to get more vibrant, to instill in you, our students, an ethos of music has come about because of synergies of visual, spiritual, making your music matter, making your scholarship matter, making and intellectual stimuli. The massive and imposing music your teaching matter. This is so that we can ensure that our music has for the religious service is an example. I think we’re in a time relevance and purpose, and a legitimate and worthwhile future. Iwhen some genius will fuse these things together in new imagina- This is a critical point. With initiatives like the Institute for Music tive ways we never thought possible, maybe even an Eastman stu- Leadership, Eastman has staked a claim. We acknowledge that it’s not dent. And, of course, music itself will cross-fertilize. Sometimes this enough to simply learn our art. We—you—must learn how to tend happens in our own house. This fall, the Ying Quartet will team up the garden in which it lives. with the Turtle Island Quartet to imagine yet another across-the- Beyond the pronouncement, what does this mean? It means that musical-border possibility. in the next couple of months we will embark on an intense evalua- I believe that reports of the demise of serious music are exagger- tion process in order to chart our future. In the institutional vernacu- ated. But we must create new engagement possibilities for music lar, this is called strategic planning. But this will not be an exercise with those legions of intelligent, curious, informed people that are intended to serve the whims of administrators or faculty. It will be missing out, or going elsewhere for their aesthetic inspiration. We driven by our desire to look into the future on behalf of you, our stu- must figure out a way to captivate them in a way that is steeped in the dents, the only reason we are here. fundamental essence of great music, yet urgently means something for future generations. To be blunt, it’s this urgency that I think has e will use as a base our very strong platform: our been lost. Something tells me that the “serious music” profession has program as it stands at Eastman. We will then delve been a little asleep at the wheel. Put another way, we have not been into an exploration of not just what music is going courageous and passionate public advocates for our art form. to sound like in the future, but what it’s going to be Eastman will also be vigorously pursuing ways we can connect, Wlike in the future. By this I mean the ways and means that we may not just within the walls of Eastman, but with our community here experience music down the road, the way we may study and examine and elsewhere, such as our many colleagues at the University of music in the future, the way we may teach music in the future. This Rochester. We already have a number of collaborative initiatives is crucial because virtually every segment of our culture is redefin- with the River Campus that have stimulated the minds and spirits ing not only its message, but its medium. of many of our faculty and students. There is a wealth of inspiration Other art forms have endured and indeed prospered by this evolu- that you, our students, can gain from meaningful interactions with tion. Great theatre, for example, did not die with the invention of TV that community. I know for a fact that those students are dying to and film. It just spun off some new versions of itself. Movies did not connect with you. And you will be the beneficiary—many already die with the invasion of the Internet, or the invention of YouTube. are—of vital intellectual and social contact. Last time I checked, the YouTube just evolved some new contexts within which film could be biology major, the philosophy major, the English major, the music experienced. These kinds of changes will have a profound effect on major, are all human beings with brains and intellects and pent-up the music we compose, how and where we perform and experience feelings and unexpressed emotional complexes, all trying to gain it, how we analyze it, and how we teach it. some sense of this poem we call life. We now live in a world whose narrative theater includes lots of The direct message: Eastman is our medium. And we want other elements. This is a message-intense world stimulated by the Eastman the medium to be a place where what we do—composing computer screen. Every time we sit mesmerized in front of that very music, probing music, inquiring of its history, teaching it, making screen, we enter through a fantasy-rich portal into the most visited music—matters. This is, indeed, the Eastman advantage. theatrical stage the world has ever known: the Internet. The Internet Which is precisely why today, Eastman turns up the heat. will not, I believe, replace live music. But it’s our job to learn how to Thank you. use it to inspire an urgent need for live music. This multi-media dimension is really not new at all. Stravinsky ON THE WEB Douglas Lowry’s convocation address is also available on the himself remarked that some of his most inspiring compositional mo- Eastman website: www.esm.rochester.edu/news/convocation_2007.php.

6 Eastman Notes | Winter 2008 The music at Dean Lowry’s investiture ceremony included Debussy’s rarely sung Papillons, performed by soprano Kathryn Blomshield.

The alchemy of the In his inaugural address, Eastman’s museBy Douglas Lowry newest dean muses think it’s fair to say that Eastman’s vaunted legacy has carved a defining swath through musical culture since its founding. For these on making music achievements, Eastman has been blessed with considerable national and international acknowledgement. matter. IYet if the dynamics of global connectivity have taught us anything, it is that institutions must be nimble and ultra-creative in order to evolve productively, constantly re-imagining their goals and aspirations by looking at themselves through eyes other than their own.

PHOTOGRAPH BY RICHARD BAKER Winter 2008 | Eastman Notes 7 “We are the alchemists who must convert music into something meaningful, something communal.”

8 Eastman Notes | Winter 2008 So before we talk about the remarkable opportunities for growth is the creative impulse. Correspondingly, the most effective organiza- before us here at Eastman, I’d like to share a couple of simple per- tions, be they educational or artistic or business; the most effective sonal thoughts about this mysterious thing we call music. and compelling stage plays, musicals, films, pieces of music, novels, Truth told, we don’t really know what happens when streams of mu- poems … are those where the creative impulse is flying high. sical sounds move through time and space and hit the radar dishes of Which brings me to one of Eastman’s brightest accomplishments: our psyches. It defies explanation because explanations are verbal, and its adventuresome spirit of entrepreneurship, its creativity. Through music is a non-verbal art form. So our attempts to do so remain highly innovative programs like the Institute for Music Leadership, students speculative. Philosophers have tried. For example, Suzanne Langer are afforded opportunities to explore alternative means for advanc- once described music as an emotive analogue to experiences inside us. ing their music, to interact with major players in the field. But they Some have even argued for music as a separate form of “intelligence.” also learn via metaphors from other art forms, like learning audition Others call music an energy impulse that has the power to excite techniques from actors. This is another muse at work at Eastman: in different ways, depending on how we’re hard-wired. Music can the muse of the musical entrepreneur. excite bodily movement through space, as in dance. It can activate Now we don’t define “entrepreneur” in the strictly “business” humming or singing, invoke emotional states, present us with in- sense. Some in the arts are actually offended by use of this word tensely intriguing sonic puzzles, accompany spiritual or aesthetic “entrepreneur.” Though business is certainly woven in, we use the experiences, or simply serve as an intriguing and relaxing backdrop purest and broadest definition: “a person who organizes and man- to drinks or dinner. ages an enterprise … with considerable initiative.” Music’s source is, according to the Greeks, the muse. The muse If I look through the roster of prominent Eastman alums—Ron was one of nine Greek goddesses, daughters of Zeus and Mnemosyne, Carter, Renée Fleming, Dominick Argento, Chuck Mangione, Mitch who presided over our arts. (Notice that Zeus appointed goddesses, Miller, to name a few—it all began with, to be sure, a significant The word ‘muse’ can be a verb, as in, “to think or meditate in silence.” But it is also a noun, as in, “an inspiration that motivates a poet, artist, or thinker.”

and not gods, to watch over us.) The word “muse” can be a verb, as gift of music. But what sets these artists apart is initiative. There’s in, “to think or meditate in silence.” But “muse” is also a noun, as in, something about these innovators, for they are people with initiative, “an inspiration that motivates a poet, artist, or thinker.” Listen to that: a particularly restless, active, dissatisfied, intensely curious element an inspiration that motivates a poet, artist, or thinker. that fuels their constant creativity. Now alchemy was “a form of medieval chemistry and speculative And so, behavioral initiative is at the basis for our vision of what I philosophy that attempted to discover an elixir of life and a method call The Eastman Advantage. for transmuting base metals into gold.” But it also refers to “any seem- Vision is, of course, moot without focus. Though we work in music, ingly magical process of transmuting ordinary materials into some- one of the most ambiguous of mediums, this does not mean we don’t thing of true merit.” A brilliant theatrical set designer I used to work have to focus as an institution. Frankly, this is no different for the with in Cincinnati, Paul Shortt, once said that he was really in the musical poet, be it composer or performer. The poet W.H. Auden put business of creating illusion through visual imagery. He went on to this spin on it: “Great creative work is clear thinking about mixed say that no matter what your art, you’re essentially doing the same feelings.” A great way to characterize the act of composing and mak- thing, be you poet, painter, composer, or performer. Masks, illusions, ing music, and of the tasks before us here at Eastman. alchemy, but deployed to tell some version of some truth, giving cre- Focus is difficult, made even worse in this era of the intensely con- dence to Oscar Wilde’s statement, “Man is least himself when he talks stant distraction. But focus is necessary. Igor Stravinsky, one of the in his own person. Give him a mask and he will tell you the truth.” music world’s most creative geniuses, wrote in his Poetics of Music, Hence, the alchemy of the muse. “The creator’s function is to sift the elements he receives, for human activity must impose limits upon itself.” He goes on, “My freedom t Eastman, our métier is the work of the creative thus consists in my moving about within the narrow frame that I imagination, be it the composer, performer, scholar or have assigned myself … my freedom will be so much the greater and teacher. And as for the Eastman School, I believe funda- more meaningful the more narrowly I limit my field of action …” mentally that the most powerful, provocative, inspira- Another way to say it might be, “An artist is most free when the tional,A and motivating impulse in any organization or human being limits are most severe.”

PHOTOGRAPH BY RICHARD BAKER Winter 2008 | Eastman Notes 9 But vision doesn’t just require imagination and focus, it also re- input from the music world, but outside the music world as well. quires urgency. And so I’m going to bring up a sensitive topic. I’ll Because if we’re only listening to what the music world thinks is im- kind of come in the back door on this one. portant, we run the risk of listening to nothing save that which agrees We are a goal-obsessed civilization, a mode that has accomplished with our own prejudices. some incredible things. Skyscrapers, advances in medicine, technol- ogy, space travel, the Eastman School of Music. But as the sages tell hich brings me to two other vitally important us, there’s a downside to every upside. The upside—some say the topics: diversity and engagement, which are inter- necessity—of living and breathing a goal-oriented philosophy, of ac- twined in my view. complishment, is that it motivates. Goals frame the argument. They The latter first. Let me posit something: every- give us something to work for, allow us to prove our mettle, enable Wthing is theater, theater is everything, including music. Great charac- our dreams to emerge and become real. They help us focus, because ters in great plays, like great lines in great symphonies, must engage, goals help us quantify accomplishment. They allow us to visualize and engage productively. Each character must tell their story in a an end-game. way that is compelling and interesting, but also, the story has to However, here’s the flip-side. Once a goal is accomplished, how mean something to the community—a rich and diverse community, do we behave? Have we prepared ourselves for the next step in our not just “us.” I guess it’s what I’d call productive engagement, for pursuit of even higher excellence? Have we taken notice of our com- this heightens urgency and excitement and also multiplies engage- petitors? Has the game changed? Moreover, is the way we do what ment. And it’s based on another quite simple precept: music is a we do sufficient to move us to the next level? communal art. I guess here’s the rub, the opportunity challenge that presents itself However, engagement in and of itself is pretty meaningless if it’s as a gentle warning to every organization seeking not only to sustain not part of a larger strategy aimed toward enriching our musical life Once a goal is accomplished, how do we behave? Have we prepared ourselves for the next step in our pursuit of even higher excellence? elevation, but also aspiring to fly even higher. I’ll paraphrase from with differing points of view, different aesthetics, different move- the title of Marshall Goldsmith’s book: “What got you here … may ments. So creating and managing strategic diversity is crucial. There’s not get you there.” a Talmudic statement inside whose capsule is an admonition, and it goes like this: “We do not see things as they are. We see things as we or starters, we have to be wary of believing our own are.” And for that, sometimes we pay a steep price. rhetoric. Secondly, I’ll suggest that our Eastman institu- As we move toward developing a compelling strategic vision, to- tional behavior must now be adapted to a new, ever-more ward empowering the diversified Eastman Advantage, our strategic shifty marketplace. Yet I will also insist that it is Eastman’s vision will be rooted firmly in the essential lifeblood of any great Fresponsibility to create the market—that’s been our storied trade- music school: its students and its faculty. Yet our vision will also be mark—and to do this, we must not be averse to risk. Sometimes I rooted in discussions about diversity that will not simply focus on sense that our risk aversion in academia is fortified by this habit of ethnic diversity, but also on aesthetic and intellectual diversity as constantly conducting our work as if our peers are always standing well. We have, as I speak, an excellent diversity committee hard at at our shoulders. We are also driven by this mania for “benchmark- work on these questions, and they will present to me a draft state- ing,” as if each action or non-action can’t be determined until we are ment shortly not just on what Eastman’s position will be on diversity, sure that we know what our peer group is doing. but what we’re going to do about it. The good thing is that Eastman has had a track record for some Another stated goal of the Eastman Advantage: making music mat- revolution in that regard. But we must not be so bound to the legacy ter, initiatives that will delve into questions of music’s very relevance. that we become chained to it. We must be courageous enough to fail. We will discuss music’s vital role in the allied arts, and how this in- Winston Churchill, whose epic successes and failures drew upon tertwining has only the most positive benefits for music’s future. him with equal force, said, “Success is maintaining your enthusiasm Toward this end, we will host an international conference that will between failures.” engage internationally prominent critics, creators, and scholars, not Toward that end, I am committed to a number of objectives, not just in music, but in the visual arts, film, dance, and multi-media as the least of which is broadening our input, and not just broadening well. And we will call this conference Music Out of a Vacuum.

10 Eastman Notes | Winter 2008 Why a vacuum? Everyone is fond of saying that music is a univer- mine the necessary fuels to generate sufficient long-term support to sal language, but why is it that when serious discussions take place stoke its dreams, it will be about making music matter. about the future of music, only the music professionals are involved? And our envisioned dream must matter to more than just us, the I would argue that music has evolved in a much larger stew pot than audience of the professionals. We cannot behave as if music is an one of “just music,” in the same way that fiction, film, photography, end in itself. As Henry Miller said, “Art is only a means to life … in poetry, dance, drama, you name it, have evolved. But I have to tell becoming an end, it defeats itself.” To do that, we must also conduct you that some of these other art forms have re-established their our work amidst a compulsion to contribute. Eleanor Roosevelt said urgency and necessity in the culture because they invited others it best: “When you cease to make a contribution, you begin to die.” into the discussion, and in the process not only found enrichment, Writ large on our façade, George Eastman’s muse looks over us: but inspiration. “For the enrichment of community life.” We are the alchemists who We should fear not the possibility of throwing ourselves into the must convert music into something meaningful, something commu- general contradictions of what this might bring. We can’t fear that tumult. As John Keats said, “There is nothing stable in the world; uproar is your only music.” We will further develop a focused set of what will be called Eastman Collaboratives, building on some groundbreaking linkages. For example, already begun initiatives with the UR River Campus on something called “music and sound”; or a conference next summer with the Mannes Institute on rock and roll and jazz; or enhanced performance opportunities with River Campus students combined with Eastman students, not just to enrich music, but to enrich the community, our community.

ast but not least, we will strate- gically protect and enhance the Eastman legacy by building and revitalizing the infrastructure. LWe absolutely need to mine deep for re- sources for faculty and student support, and for facilities, using the remarkable accelera- tion of the Eastman Theatre Renovation and Enhancement Project as a platform for our broader advancement efforts. Special events at the inauguration included the awarding of an honorary doctorate to We will strengthen the beacon of Eastman’s Marian McPartland, jazz piano legend and long a familiar face at Eastman. communications signal, revamping the web- site, energizing its content and engage-ability, innovating its media, nal. I would argue that if we keep connected to the soul of civiliza- figuring out ways to ensure that the story of Eastman’s great work is tion, the audience will take care of itself. told far and wide. The CD we wish to record is our collective vision And to that full experience must we be truthful. As ephemeral as with a worldwide distribution deal. the dream may be, as realities curve the pattern, we must believe While this will require doing a better job at calling attention to in it. our work, it also means we must develop strong personal stories that President Seligman, students, faculty, alums and friends, indeed, constantly dramatize the link between music and what is human. I the entire Eastman family, thank you for sharing this moment. I can- hope we can keep in mind the words of Laura Riding, who said, “If not tell you what an extraordinary honor it is for me to serve you as what you write is true, it will not be true because of what you are as the sixth dean of the Eastman School of Music. Thank you. a writer, but because of what you are as a human being.” In the end, no matter what our Eastman script, how lucidly and ON THE WEB Douglas Lowry’s inaugural address is also available on the compellingly we write it, how nimbly we produce it, how well we Eastman website: www.esm.rochester.edu/news/investiture_2007.php.

PHOTOGRAPH BY RICHARD BAKER Winter 2008 | Eastman Notes 11 years 90in the making George Eastman dreamed big in 1921, and his dream house will be complete in 2010

t was originally the home of an apartment building; it was supposed Plans for the expansion to be part of the Eastman School and Eastman Theatre in 1921, but include a magnificent new George Eastman and the owner of the property couldn’t come to atrium lobby. Below: The terms on a price (surely one of the few times the great George was Eastman School and Theatre ever thwarted). As a result, the building stayed for decades, and facade, complete at last. the Eastman School façade ended abruptly on East Main Street. When it was eventually torn down, the property was purchased by the University of Rochester; but the land that had been the focus of grand plans had to settle for becoming an Eastman parking lot. Now Eastman is thinking big again about the triangular parcel of land at the corner of East Main Street and Swan Street. In March 2007, the School received I$8 million from the State that enabled it to proceed with further improvements “We’re not only going to get more space. We’re going to get ‘wow’ space.” —University of Rochester President Joel Seligman

to the Theatre. In September 2007, the University announced an additional $5 million grant from New York State, enabling the School to include an addition in its plans. The plan, designed by Chantreuil, Jensen, Stark Architects, includes an ex- pansion of the Eastman Theatre lobby, a 200-seat recital hall, additional faculty and rehearsal studios (including a large-ensemble rehearsal space), and a new recording control suite. Construction on this $37 million project is scheduled to begin in the summer of 2008.

ON THE WEB For background and news updates on the Eastman School and Theater renovation, go to www.esm.rochester.edu/news/renovation_news.php. chaintReuil, Jensen, staRk aRchitects Winter 2008 | Eastman Notes 13 SCHOOL NEWS The gift that keeps on giving Rochester got an early holiday present on November 29, when several Eastman ensem- bles came together to offer The Gift of Music: an eclectic smorgasbord of musical goodies by Mahler, Copland, Steve Reich, Stephen Sondheim, and many others in the elegant wrapping of the Eastman Theatre. The Gift of Music revived the popular Prism Concerts that were a popular feature at Eastman in the 1970s and 1980s. Different ensembles positioned through- out the Theatre—on stage, in the house, and even in the balcony—performed a non-stop hour of music. The Philharmonia, Chorale, Musica Nova, and Opera Theatre were the featured School ensembles, but the audi- ence also heard a heavy metal tune from The Gift of Music, under the artistic direc- Saxology served up some jammin’ jazz the cellists in Break of Reality, a duet by tion of Senior Executive Associate Dean (above), and Mahler’s First Symphony rang lutenist Paul O’Dette and fortepianist Kris Jamal Rossi, was given to celebrate the 75th out from the Eastman Theatre stage, with Bezuidenhout, music for saxophone and per- annual meeting of the New York State School the Philharmonia led by Neil Varon (below). cussion ensembles, and much more. Music Association (nyssma). Both groups are shown in rehearsal.

14 Eastman Notes | Winter 2008 PHOTOGRAPHs BY KURT BROWNELL SCHOOL NEWS

Summer 2007: Noteworthy and newsworthy

By Ruth Cahn

Great scholars, enthusiastic students, stimulating guest faculty, varied concerts in Kilbourn Hall, and inspired young musi- cians—just another great summer at Eastman! Our programs made the news several times: • Professor Kathleen Bride and her Practical Harpist students performed live on wxxi- fm’s Backstage Pass with host Julia Figueras. I also previewed “Summer at Eastman 2007” with Julia. • The San Antonio (tx) Monitor highlighted the career of William Buhidar, a partici- pant in our Summer Orchestral Conducting Institute. William praised his experience with Professor Neil Varon and the Rochester Philharmonic Orchestra as intensive and life-changing. • Kazoophony, led by Barbara Stewart, ap- peared on our summer concert series. The Eastman performance, and their quest to make the kazoo the National Instrument, was featured on CBS Sunday Morning. Guest faculty included alumni Truman Bullard, Clay Greenberg, Bob Becker, William Cahn, Gregory Ristow, Katie Dey, Debbie Imiolo-Schriver, and Rick Erickson. Jazz pianist/conductor/improviser extraor- dinaire Lee Musiker attended the Summer Conducting Institute and entertained us all with his wonderful gift for piano improvisa- tion. Julianne Baird returned for a Baroque Vocal Workshop, Gene Bertoncini for a Jazz Guitar Weekend, and Dale Warland joined William Weinert in Week II of the Choral Orff-Schulwerk training classes for music teachers are a staple of Eastman’s summer Institute. Caterina Falli’s English as a Second sessions. Above: an Orff-instruments ensemble from a 2007 class. Language students attended classes and be- came acculturated to the Eastman lifestyle; stitute with Wesley Nance and Doug Prosser, School Wind Ensemble (led by Bill Tiberio); all 16 are now matriculating at Eastman. and a Viola Institute with George Taylor Summer Trumpet Seminar with Herb Smith; Our World Music trilogy—African Drum- and Katie Dey were exciting new additions. and Excelsior! for New Horizons adults (led ming with Bob Becker; Creative Music Mak- All will return in 2008, as will the Eastman by Marcia Bornhurst Parkes). The Summer ing with Bill Cahn; and Balinese Gamelan Trombone Institute with Mark Kellogg and Jazz Studies students were truly exceptional, with Clay Greenberg—attracted eager stu- James Martin, for its third year. amazing young artists. Our Music Horizons dents and a long waiting list. A Trumpet In- Summer would not be summer without program for “classical students” completed our youngest musicians from the Eastman its 23rd year with 62 students attending. On the Web Information about the Community Music School, who bring so upcoming Summer 2008 session is at much energy and enthusiasm to our cam- ➤ Ruth Cahn is director of Eastman School www.esm.rochester.edu/summer. pus. New ecms programs included: High Summer Session.

PHOTOGRAPH BY Janet Robbins Winter 2008 | Eastman Notes 15 SCHOOL NEWS

Remembering “a consummate musician”

During the weekend of November 15¬18, 2007, Eastman presented an Alfred Mann Music and many translations, required an unbe- Festival, a salute to the great teacher, conductor, and musicologist. Mann, who died in September lievable amount of sheer Sitzfleisch—or, in 2006, was a much-loved member of the Eastman faculty from 1980 to 1987, serving as professor Alfred’s case, Standfleisch, for he wrote every emeritus thereafter. The Festival included a scholarly symposium, as well as performances of day, standing at his desk in his room at home, two choral works closely associated with Alfred Mann: Handel’s Messiah (conducted by Thomas with his library and instruments nearby. Folan, DMA ’03) and Bach’s Mass in B Minor (led by Professor of Conducting William Weinert). Alfred’s impressive list of publications and Among those present were former associates of Mann’s, and two of his three sons. Marie Rolf, performances notwithstanding, his com- associate dean for graduate studies and professor of theory, introduced the symposium with mitment and generosity as a teacher are the her reminiscences of Alfred Mann; a brief excerpt follows. qualities that we at Eastman will perhaps remember best. Just as his scholarship was By Marie Rolf the Bethlehem Bach Choir, with whom his influenced by his performance activity, so performances of the B-Minor Mass were leg- his teaching and research fit hand in glove. Alfred was a perfect fit for Eastman because endary … Alfred’s interest in choral music Similiarly, there were no seams between his he was such a consummate musician—a re- was shared with countless choral conductors, professional life and his domestic life. He markable combination of scholar, performer, both in person and in the numerous articles thoroughly enjoyed sharing his knowledge and teacher … Alfred’s scholarship was in- and reviews he penned for the American and experiences with his students, whom he timately connected with his work as a per- Choral Review, which he edited for 38 years. shepherded and guided with the patience of forming musician, especially as conductor of These offerings, along with his editorial work a loving father. But he also invited students to his home, where they felt truly part of his family— who wouldn’t, with the warmth and humor that exuded from his wife and sons, and with Carolyn’s marvelous cuisine and the won- der of discovery she brought to their house- hold through her work with the Front Porch Theater, a children’s theatrical group that she founded here in Rochester and that worked off the front porch of the Manns’ home on Scribner Road, a house now occupied by Tom and Andrea Folan. In spite of Alfred’s supreme modesty and kind and gentle demeanor, those who met him instinctively knew they were in the presence of greatness, and they afforded him the esteem, respect, and loyalty he deserved. His mere presence inevitably elevated the discourse and behavior of those around him, whether they were students or colleagues, or whether they were non-musicians. Perhaps as important as any music lesson he ever gave, Alfred taught us to be loving and gen- erous with each other. What a profound legacy he leaves us—as musician, scholar, teacher, friend.

On the web Information on the Alfred Mann Music festival, and a biography of “In the presence of greatness”: Alfred Mann’s legacy to Eastman was not only musical and Mann by Michael Dodds (MA ’91, PhD ’99) is at intellectual, but also personal and emotional. www.esm.rochester.edu/mann.

16 Eastman Notes | Winter 2008 PHOTOGRAPH COURTESY EASTMAN ARCHIVES SCHOOL NEWS

The Night Music cast prepared for “A Weekend in the Country” on a stage set almost as complicated as Sondheim’s music and lyrics. Eastman Opera: Perpetual sunsets, tomorrow’s stars

“Perpetual sunset/is rather an unset- is of a very high order. Two student casts (aug- tling thing,” sing several of the characters mented by Professor of Voice Carol Webber in Stephen Sondheim’s A Little Night Music. in the role of Madame Armfeldt), directed by This sophisticated musical, based on the Benton Hess and Stephen Daigle, negotiated Ingmar Bergman film comedy Smiles of a Sondheim’s soaring waltz melodies, intricate Summer Night, opened on Broadway in 1973 ensembles, and tongue-twisting lyrics for a and is now frequently produced by opera weekend of sold-out performances. companies, so Eastman Opera Theatre’s Two weeks later, on November 17, the performance this fall was not surprising— Friends of Eastman Opera held its seventh particularly after our recent productions of annual Voice Competition. Guest adjudi- Sondheim’s Passion, Sweeney Todd, Company, cator Darren K. Woods of the Fort Worth and Assassins. The interlocking stories of Opera, joined by a nearly full Kilbourn Hall, several sets of mismatched couples who sort heard eight student contestants sing arias by themselves out properly during a weekend at composers from Mozart to Stravinsky. Bari- a Scandinavian chateau, A Little Night Music tone Evan Jones won the Lynne Clarke Vocal is a romantic, but definitely modern, oper- Prize (first prize); soprano Julia Cramer won Send in the winners: adjudicator Darren etta with the sardonic Sondheim touch. second prize; and mezzo-soprano Quinn K. Woods, baritone Evan Jones, mezzo- The show’s best-known song is the ballad Patrick won third prize. All three recently soprano Quinn Patrick, and soprano Julia “Send in the Clowns,” but the rest of the score performed in A Little Night Music. Cramer after the 2007 FEO Competition.

PHOTOGRAPHs BY Gelfand-Piper Photography (eastman opera); kurt brownell (feo competition) Winter 2008 | Eastman Notes 17 SCHOOL NEWS

They’ve still got that swing

Eastman’s fall concerts started out with a blast of brass: the world-famous Canadian Brass, frequent summertime visitors to the School. On September 28, the venerable and very famous quintet joined the Eastman Wind Ensemble and conductor Mark Davis Scatterday for a lively, popular concert of American music including Sousa marches, Duke Ellington’s “It Don’t Mean a Thing if It Ain’t Got that Swing,” selections from Bernstein’s Mass, and more. The day after performing to a large Eastman Theatre au- dience, everyone reconvened on the ET stage to record the concert program for a forthcoming CD. The combined groups will tour to promote the new recording in Canadian Brass charter member and tuba player Chuck Daellenbach (BM ’66, MM ’68, summer 2008. PhD ’71) returned to Eastman for this concert and recording session with his colleagues.

18 Eastman Notes | Winter 2008 PHOTOGRAPHs BY Gelfand-Piper Photography SCHOOL NEWS

A festival with pluck – and luck

The increasingly prominent role of guitar at Eastman, and in the classical-music world in general, was reflected in this fall’s Eastman Guitarfest. Originally a part of Eastman’s Summer Session, the festival returned in 2007 as a series of guitar and lute concerts at Eastman and Nazareth College between September 28 and October 9, featuring a galaxy of plucky virtuosi who happened to be in town around the same time. Eastman professors Nicholas Goluses (who arranged the Guitarfest in associa- tion with the International Guitar Institute) and Paul O’Dette showed their stuff in re- citals; guest artists David Russell and Pepe Romero gave recitals and master classes. Romero, of the legendary guitar-playing family, is shown here in a master class with Evan Drummond.

Eastman’s Ciminelli Lounge was an intimate setting for Pepe Romero’s master class on September 28.

Cavalli goes to China Eastman often hosts visits from guest artists; in November it hosted a stageful, as singers from Ohio’s Bowling Green State University came to Kilbourn Hall for a performance of a real Baroque rarity: a new edition of the opera Il virtù de’strali d’Amore (The Power of Love’s Arrows) by Francesco Cavalli, which was very likely unperformed between its 1642 premiere and its performance at BGSU on November 7, 2007.

The revival featured BGSU student singers, with Eastman’s Paul O’Dette leading mem- bers of Collegium Musicum in the pit. The November 9 performance was followed the next morning by a Musicology Department symposium on the opera and on this produc- tion, which was set in Macao and used many elements of Chinese theater.

PHOTOGRAPHs BY Kurt Brownell (Guitar Festival) and courtesy Bowling Green State University (opera) Winter 2008 | Eastman Notes 19 SCHOOL NEWS

The Craighead Saunders Organ is a copy of an 18th-century instrument ideal for performing the music of J.S. Bach.

Double the reeds, double the fun

K. David Van Hoesen built a reputation as a legendary bassoonist and teacher during his 37 years at Eastman; many of his students are prominent in major orchestras and teaching at important colleges and universities.

Many of Van Hoesen’s adoring students, along with students of Eastman’s current bassoon professor, John Hunt, converged on the School on November 19 for a weekend of memories and music.

Van Hoesen himself was present to talk with his former students, and to demonstrate a reed making machine of his own design. Van Hoesen is in the first row, fourth from the right, with John Hunt standing behind him in black shirt and yellow tie.

20 Eastman Notes | Winter 2008 SCHOOL NEWS

Reviving the past and creating the future: EROI 2007

Now in its seventh year, the Eastman- Vilnius, Lithuania, and which is named after Eroi 2007 also commemorated the 300th Rochester Organ Initiative continues its two legendary Eastman organ professors, anniversary of the death of the Danish master mission of making Eastman, and Rochester, David Craighead and Russell Saunders. organist and composer Dieterich Buxtehude a world center in organ performance and As with previous eroi Festivals, musi- (1637¬1707) with a presentation by Professor research—and a growing treasure trove of cians, scholars, and organ enthusiasts came Emerita Kerala Snyder and performances beautiful, historic instruments. The focus of together for a weekend of learning about of Buxtehude’s music. Eroi 2007 was part eroi 2007, which took place from October organ documentation and conservation, and of the University of Rochester Humanities 11¬14, was on the School’s latest acquisi- to enjoy organ demonstrations and recitals Project, The Organ in Society: Culture and tion, the Craighead-Saunders Organ. A crew at the Memorial Art Gallery, local churches, Technology, presented in association with the spent much of the summer and fall at Christ and other sites. In addition to the scholarly Organ Historical Society. Church Episcopal, on East Avenue one block presentations, historic organ citations were from the School, preparing for the installa- given to the Strong Auditorium’s Aeolian- ON THE WEB For more information on EROI tion of this impressive instrument, a rep- Skinner Organ, and the Memorial Art 2007, EROI 2008, and the Craighead-Saunders lica of a 1776 Casparini organ discovered in Gallery’s Italian Baroque Organ. Organ, visit www.esm.rochester.edu/EROI. “Loved, learned, played, and shared”

During the installation of the Craighead- Pepperell, Massachusetts, in 1967, where it in Cleveland) made a gift of the unique organ Saunders Organ, Christ Church’s “substitute was scheduled to be demolished. Traveling to Eastman. And were, of course, honored organ” will be an 18-foot-high tracker organ with the Nilson family from New Jersey, to guests at the 2007 eroi Festival. donated to the School in 2006 by Noel and Connecticut, to Massachusetts, the restora- In a commemorative book produced be- Carolyn Nilson. tion and maintenance of the organ was truly fore handing the organ over to Eastman, the The Nilsons rescued the instrument, built a labor of love. Nilsons remark that the beautiful instrument in 1896 by the Hook and Hastings Company Hearing about the Eastman-Rochester has been “loved, cared for, taught, learned, of Boston, from St. Joseph’s Church in Organ Initiative, the Nilsons (who now live played, and shared.”

PHOTOGRAPHs BY Po Yao chen (van hoesen), steve boerner (organ) ALUMNI NOTES

A greeting from our new Alumni Relations Director

Kilbourn Hall, Eastman Theatre, of the Institute for Music It is truly a privilege for me to in Room 120 … long hours in Leadership at the Eastman be serving the community that Sibley Library, the Computer School, serving both current stu- is dearest to my heart. I encour- Lab, practice rooms … and thou- dents and our illustrious alumni. age all alumni to take advantage sands of hours working with I oversee all Eastman alumni ser- of all the resources we have friends, colleagues, and faculty … vices and events, both on and available; our newly updated it’s been hard at times not to off campus. I also coordinate website is at www.esm.rochester. think of Gibbs Street as my pri- Eastman Weekend, the school’s edu/iml. You can also reach us mary address. So after complet- bi-annual gathering of alumni, by phone at (585) 274-1111 or ing my doctoral coursework in students, faculty, and parents, 866-ESM-ALUM during business the spring of 2007, joining the which will coincide with Meliora hours. We look forward to hear- Russell Scarbrough Eastman School as Assistant Weekend on the River Campus ing from you. Director of Alumni Relations and this year, on October 16-19. I also Sometimes, it’s just hard to leave Career Services Coordinator was assist current Eastman students Best Regards, home. And after five years of as comfortable for me as taking in their career development, graduate school and two degrees a seat in the trombone section providing advising services, in Jazz and Contemporary Media, of the Eastman Jazz Ensemble. maintaining web resources, and the Eastman School feels like facilitating contact between home to me now. Five years of My name is Russell Scarbrough, students and Eastman alumni Russell Scarbrough unforgettable moments in and I am very happy to be a part around the world. (MM ’04, DMA ’07)

correspondent soon! Last October 1940s Arlene and her husband, Harry, visited Spokane, WA, to attend Emma Lou Diemer (MM ’49, their granddaughter Jessica’s Bat PhD ’60) sends word of several Mitzvah. While in Spokane, new recordings of her music. Arlene contacted and met with Indian Flute for Flute and Narration, ESM alumni from several different performed by Nina Assimakopoulos decades, who all had a great time is available on the Capstone CD reminiscing about their Eastman Points of Entry: The Laurels Project, days—and who posed for a photo. Vol. 1; Piano Sonata No. 3 is on Good work, Arlene! From left to Nancy Boston’s CD American right, we see Verne Windham Women: Modern Voices in Piano (BM ’68), who is now director of Music ([email protected]). the Spokane Youth Orchestra and Emma Lou’s Six Songs was released Spokane Public Radio; Kim Pleniak on the CRS Artists CD Canadian- (BM ’94), principal bass of the American Composers (CD-0481) An Eastman reunion in Spokane, arranged by Arlene Cohen Stein (second Spokane Symphony Orchestra; in 2004. from right). See 1950s, column four, for the rest of the participants. Gail Coffee (BM ’61), assistant principal flute and personnel man- Richard M. Ziter (BM ’49, MM ’51) ager of the Spokane Symphony; was grand marshal of Bennington, his wife, Wini, thrive in Tucson, AZ, Bruce Bodden (BM ’86), SSO VT’s 52nd Fall Foliage Festival Parade, 1950s and dote on their five grandchildren. Principal Flute; Arlene herself; held September 30, 2007. After and Steve Radcliffe, who attended receiving a degree in piano perfor- Glenn Bowen (MM ’56, DMA ’68), John Glenn Paton (MM ’59) sang Eastman from 1962–1964. Not pic- mance from Eastman, Richard professor emeritus from the songs by four French composers on tured is Angela Burr (BM ’64), received a BS and medical degree University of Wisconsin (Madison) a faculty recital at Moorpark College librarian at St. George’s School. from the University of Vermont. since 1992, recently retired from in February 2007. He is editing an He recently completed more than one of the great professional concert anthology of mélodies for Alfred 30 years as an eye surgeon. Richard bands: the Capitol City Band of Publishing Company. 1960s now gives benefit piano concerts Madison, WI, in which he was a in the Berkshires, and performed clarinetist and served as chief Arlene Cohen Stein (BM ’57, MM William M. Anderson (BM ’63, at Tanglewood in 2004. arranger for 14 years. Glenn and ’70) will qualify as a Notes special MM ’64), has been elected president

22 Eastman Notes | Winter 2008 The well-traveled Marlan Carlson, shown here conducting in China, where he has conducted and taught for the last seven years. of the Ohio Foundation for Music sional Corvallis-Oregon State Education. University Symphony Orchestra (www.symphony.peak.org) and his Among those taking part in Bard 15th year as chair of the OSU Music College’s John Cage Tribute Concert Department, where he holds the on September 27 was the percussion Eugene and Eleanor Otwell Endowed ensemble Nexus, including Bob Chair for Orchestral Studies and has Joyce Castle as Public Opinion in Glimmerglass Opera’s Becker (BM ’69) and Bill Cahn directed study abroad programs in production of Offenbach’s Orpheus in the Underworld (BM ’68). Nexus played the U.S. London, Cologne, Stuttgart, Vienna, premiere, and the third performance Siena, and Angers, France— ever, of Cage’s Dance Music for Elfrid opportunities that have allowed him Ide (1940), which was rediscovered to pursue his lifelong passion for for- in 2005. (Nexus has a long history eign languages and working abroad. Castlesque with Cage, and took part in the com- In June, he and three Russian pia- Mezzo-soprano Joyce Castle (MM ’66) always has a busy poser’s 70th birthday “Musicircus” in nists recorded piano concertos by and varied schedule, but the past couple of years have been Los Angeles in 1987.) The group was Glazunov, Scriabin, and Tchaikovsky also an important presence at the with the Russian Philharmonic exceptional, even for her. In summer 2006, Joyce sang the Ojai (CA) Music Festival in June, the Orchestra in Moscow. For the past role of Augusta Tabor in the 50th anniversary production of Toronto Summer Music Festival in seven years, Marlan has conducted Douglas Moore’s The Ballad of Baby Doe in Central City, August, and in concerts with the and taught in China, principally in Colorado, where this popular opera premiered in 1956. Pacific and Kansas City Symphony Zhengzhou, but also in Shanghai, Orchestras. See www.nexuspercus- Tianjin, and Chengdu at the Sichuan Last January, Joyce played the Widow Begbick in the Weill- sion.com for details. Conservatory of Music. In 2002, he was named “Permanent Honorable Brecht Rise and Fall of the City of Mahagonny for Opera Lewis Buckley (BM ’69) was Guest Conductor” of the Henan Boston, following that with an April run as Mrs. Bertram appointed music director of the in Jake Heggie’s The End of the Affair with Lyric Opera of Metropolitan Wind Symphony in the Kansas City (a CD of the performance will be released in Boston area (www.mws-boston.org), effective the 2007-2008 season. 2008). Last summer she played Public Opinion in Offenbach’s Buckley, who in 2004 retired from Orpheus in the Underworld at Glimmerglass Opera (shown his conducting position with the U. S. above), and in the fall played Madame de la Haltière in Coast Guard Band as the longest- Massenet’s Cendrillon for the New York City Opera. tenured conductor of a single mili- tary band in American history, is also Joyce’s recent CDs include Strawberry Fields by Michael the conductor of the Manchester Torke (MM ’81; see p. 25) and Flesh and Stone: Vocal Music (CT) Symphony. He and his wife, Karen (Hopper) Buckley (BM ’68), of Jake Heggie (Americus), on which Joyce sings Statuesque, are also partners with Bryan Doughty a song cycle written for her by Heggie and Gene Scheer in Cimarron Music Press. (BM ’81, MM ’82), in which five famous statues of women come to life. All proceeds from the sales of Flesh and This fall Marlan Carlson (MM ’61, DMA ’64) started his 23rd season as Stone benefit Classical Action: Performing Arts Against conductor of the “mostly” profes- Lewis Buckley AIDS (www.americuscd.com).

Photo BY GEORGE MOTT/glimmerglass opera (Joyce Castle) Winter 2008 | Eastman Notes 23 ALUMNI NOTES

Province Symphony Orchestra, and Robert Jesselson (MM ’79) is in 2006, one of four recipients of the executive director of the National Henan “Yellow River Award.” Last year, Send your news! String Project Consortium, with Marlan and his wife, Angela, celebrated String project sites at 25 universities Do you have an announcement you’d like to share with your their 40th wedding anniversary. around the country addressing the fellow alumni? Send your personal and professional news to string teacher shortage. Robert has Ray Nutaitis (MM ’64) is the new Notes, Office of Communications, Eastman School of Music, raised more than $2.2. million for Director of the KBAQ Production 26 Gibbs Street, Rochester, New York 14604. these programs, including recent Studio at Arizona State University, grants from Strings magazine and the recording over 100 live concerts Fax: 585-274-1089 D’Addario Foundation. During sum- annually of ASU Faculty and interna- E-mail: [email protected] mer 2007, Robert taught cello at the tional touring artists for later broad- University of Auckland (NZ) and at cast on Classical Radio KBAQ FM 89.5. We reserve the right to edit submissions for clarity and length. the Green Mountain Festival (VT). The deadline for the Summer issue of Notes is May 16, 2008. G. Stanley Powell (MM ’67) was Geary Larrick (MM ’70) premiered honored at a concert at the Abington News of your upcoming events such as concerts and lectures his Poem V: Drum in July 2007 in Presbyterian Church, Abington, Stevens Point, WI. Geary played PA, on May 18, 2007, where he was can be posted live on the Eastman alumni website: the piece with a leather beater on guest conductor of both its choir and www.esm.rochester.edu/alumni an 18-inch elkskin frame ceremonial orchestra. The concert commemo- drum made by Ho-Chunk and pro- rated the 35th anniversary of the vided by Cheyenne Norman Hale— church’s concert series, “Music at Houston Film Festival. He is cur- Church of Christ pastor and seven the first time the drum was played Abington,” which he founded in 1972. rently providing additional scoring years as a hospice chaplain, is work- in public, as well. Poem V is dedi- At the conclusion of the concert, and sound design for Baltimore film ing part-time as a retirement home cated to Geary’s daughter, Sulina. Stanley, who was minister of music director Lee Boot. chaplain so that he can entertain He still performs regularly on piano, of Abington Church for 20 years, senior citizens in retirement marimba, snare drum, and percus- retiring in 1990, was awarded the Violinist Martha Curtis (BM ’78) communities in the Baltimore- sion. In 2008, Geary is celebrating title of Minister of Music Emeritus. was guest speaker at the Epilepsy Washington area, accompanying 40 years as a published scholar, most Foundation’s annual community edu- himself on piano and singing stan- recently a music review in the Fall Sandra L. Seefeld (BM ’68) retired cation conference, held in Rochester dards of the American musical the- 2007 NACWPI Journal. from 30 years of teaching flute full- in November. Martha originally ater, from Show Boat to Ragtime. time for the Department of Music of thought that epilepsy would derail Meg and John, married 29 years, Robert Lau’s (MA ’70) choral Miami University (Oxford, OH), on her career as a violinist, but she even- have two sons: Isaac, an aspiring and organ works were featured at May 31, 2007. She was given the tually played in four orchestras and playwright living and working in Celebration 33, the annual choral Crossan Hays Curry Distinguished now encourages others to “live a life New York City; and Nathan, who workshop presented by Hinshaw Educator Award, the highest honor they want to live … I want people to is completing his studies at the Music Company, which included that the Miami University School of know they can do anything despite Pennsylvania Culinary Institute in a concert held in the chapel of Fine Arts bestows upon worthy fac- something as stupid as epilepsy.” Pittsburgh. Meg adds, “Both of us are Duke University in Durham, NC, ulty. Sandra has concertized world- grateful for the wonderful experiences in which Robert and fellow honoree wide, and was a founding member of Sandra Goldberg (BM ’77) writes: and training we received at Eastman.” John Rutter conducted the Bel Canto the Miami Wind Quintet for 21 years. “In September I presented a half hour Company of Raleigh. Former chair of of my own compositions as part of Michael Isaacson (PhD ’79) the Music Department at Lebanon On September 1, 2007, the Rev. the Zürich Chamber Orchestra announces the publication of his Valley College, Robert is now an Gene Tucker (BM ’69) became (ZKO) Open House weekend. latest book, Jewish Music as Midrash: adjunct member of the faculty of Rector of Trinity Episcopal Church, Included were all of the instrumental What Makes Music Jewish?, a schol- Penn State Harrisburg, and Organist/ Mt. Vernon, IL. movements from my musical drama arly answer to the question “using Choirmaster at Mt. Calvary Episcopal Judah Judah (about Judah the both sides of his and our brains.” Church in Camp Hill, PA. He is also Maccabee and the struggle for reli- In the book, artistic director of the Jubilate! 1970s gious freedom). I played some violin Michael dis- choral ensemble of Gettysburg. solos, conducted and even played the cusses the Toccata: Act of War for solo piano tambourine! In January we presented issues central On November 25, John Longhurst by Larry Barnes (DMA ’79) was a chamber music concert with tenor, to each facet (DMA ’71), who served as senior chosen by the Society of Composers, violin, cello and piano, also spon- of his com- Tabernacle organist for The Church Inc. for a recording by pianist sored by the ZKO. In addition to prehensive of Jesus Christ of Latter-day Saints, Jeri-Mae Astolfi, and was released works by Haydn and Shostakovich, definition; accompanied the Mormon Tabernacle on Capstone Records in the compila- we performed two of my songs, two CDs Choir’s Sunday broadcast, and then tion Sonance: New Music For Piano ‘Window Ships’ and ‘Fisherman.’ ” included retired after a 30-year career. In a in April 2007. His Toccata was also with the book long interview in the Deseret Morning commercially recorded in 2007 by Margaret (Meg) Hackett (MM ’78) illustrate his News, John described some of his Gregory Partain on Piano Works, is a partner in the Baltimore law firm points with many musical examples. experiences during those three Vol. II, released by MSR Records in Hodes, Pessin, and Katz. She has also Jewish Music as Midrash has been decades, which saw great expansion March. Larry recently completed an been minister of music at St. Mary’s described by none other than Samuel and renovation in Salt Lake City’s original score for a new cut of the Episcopal Church for the past 16 Adler as, “A profoundly original new Temple Square. John also composed full-length documentary Euphoria, years. Meg’s husband, John Oliver book.” For information about the one of the Mormon Church’s most which took the Gold Award at the (MM ’75), after 18 years as a United book, visit MichaelIsaacson.com. popular hymns, I Believe in Christ.

24 Eastman Notes | Winter 2008 Photo by peter schaff ALUMNI NOTES

Eastman alumni on CD

Several composi- SNMNMNM’s soph- Pianist Nathanael tions by the prolific omore effort, Crawl May (MM ’01) is a Dan Locklair (DMA inside Your Head featured musician on ’81) are featured on a (Unschooled 023), a new CD of cham- new CD (Naxos includes a variety ber music by Paul 8.559337). Symphony of original tunes Richards, an associ- of Seasons, Harp arranged for a vari- ate professor at the Concerto, Lairs of Sounding, Phoenix and ety of instruments (including tuba, of course) University of Florida. Nathanael is heard on Again, and In Memory – H.H.L. are per- played by Seamus Kennedy (BM ’98), Matthew two pieces with his Strung Out Trio: Cypriot formed by the Slovak Radio Symphony Kennedy (BM ’99), and Mark Daumen. Structures and Falling on Lobsters in the Orchestra conducted by Kirk Trevor. The Dark. (Meyer Media MMO7008) disc has received some positive reviews; Pianist/composer and Trevor calls the string orchestra piece Darrell Grant The music and In Memory – H.H.L. “A worthy successor to (BM ’84) calls his guitar playing of the Barber Adagio.” More information at latest effort, Truth Chris Jentsch (MM www.locklair.com. and Reconciliation ’93) and his Jentsch (Origin 82477), “my Group Large are Last year, Maria dream CD.” The heard on Brooklyn Schneider (MM ’85) recording, inspired by Darrell’s study of the Suite (Fleur de Son and her Orchestra struggle for justice in South Africa, is actually FDSJ 57987). The ambitious suite, in which won a Grammy two CDs of original music, arrangements, the composer uses the large jazz ensemble for Concert in and words from Gandhi, Nelson Mandela, like a symphony orchestra, is inspired by the Garden; now and Martin Luther King, Jr., among others. Chris’s life since moving to Brooklyn in 1999. they have a 2008 Chris premiered the quartet version of his Grammy nod for “Best Large Jazz Ensemble Chris Gekker’s suite on January 10 at the Tea Lounge in Album” for Sky Blue, and Maria’s track (BM ’76) latest CD, Brooklyn, and premiered his new Cycles “Cerulean Skies” is nominated for “Best Clarion (Albany Suite at The Kitchen on February 11. Instrumental Composition.” The acclaimed TROY 962) features CD is Maria’s latest released only through his trumpet work Paul Marquardt ArtistShare and not available in stores. See in two pieces by fel- (BM, ’88) has www.artistshare.com for more information. low Eastman alumni: recently been (See Eastman-related Grammy news on p. 35.) New England Portraits and Trio for Violin, featured as a per- Trumpet, and Piano by Eric Ewazen (BM ’76) former on Eric Michael Torke’s and the title track, a composition by long- Richards: the bells (BM ’84) one-act time Eastman professor Sydney Hodkinson themselves, a CD opera Strawberry (BM ’57, MM ’58). recording of the music of American com- Fields was the hit of poser Eric Richards, released on New World the three-composer, Nebhel and Kinnor: Records. He performs the title track the three-librettist tril- Ancient Sounds of bells themselves : Jonathan Edwards and ogy Central Park, Music, by Max Stern the American Songbook for three pianos. presented at Glimmerglass Opera and the (BM ’69) features He recorded all three parts at One Soul New York City Opera in 2000–2001. Now the compositions based Studios in New York City in 2006. He is opera, with libretto by A. R. Gurney and a on relics of ancient living in the Jacksonville, FL, area and work- memorable leading performance by mezzo- music, written for ing as a System Engineer at Bank of America. soprano Joyce Castle (MM ’66), is available reconstructions of King David’s harps. The He is currently working on several computer on Michael’s label Ecstatic (92208), coupled CD also includes Max’s Three Ancient Pieces, music projects and performs in the with his vocal work Pentecost. It is available Perek Shirah, and Jacob Struggling with the Jacksonville area with his wife, Ruxandra, from www.michaeltorke.com. (For more on Angel, performed by the Israel Sinfonietta who is the Principal Second Violin in the Joyce, including another new CD, see p. 23.) and soloists. (ACUM M12) Jacksonville Symphony.

Winter 2008 | Eastman Notes 25 ALUMNI NOTES

Percussion ensemble along with works by Bach, Mendelssohn, and Quartsemble: extraordinaire Nexus, Theodore Morrison. Tango is the first whose members CD released by include Bob Becker Stanley Leonard’s Quartsemble, com- (BM ’69) and Bill Cahn (BM ’54) new CD posed of violinists (BM ’68), is heard on Collage highlights Karine Stone (BM two recent CDs; his percussion com- ’95, MM ’97) and Wings, which includes Bob’s Unseen Child positions from 1967 An-Chi Angel OuYang (MM ’95), violist and Bill’s Just Sing; and The Music of Jo Kondo, to 2007. Stanley con- Marc Anderson (BM ’04, MM ’06), cellist the group’s 25th CD, in which Nexus per- ducts the Louisiana Diego Garcia, and double bassist Gaelen forms the Japanese composer’s Under the State University percussion group, Hamiruge, McCormick (BM ’92). For information, visit Umbrella, for 25 cowbells and a gong. For and performs Collage, a new work for solo www.quartsemble.com. information, visit www.nexuspercussion.com. timpani. The recording is distributed by C. Alan Publications (www.c-alanpublications. Organist Mark Three works for com). Stanley’s first CD, Canticle, is distrib- Laubach (MM ’84) brass by Vincent uted by Ludwig Music (www.ludwigmusic.com). recently released Frohne (MM ’59, Mosaics in Sound PhD ’63) are on a Brothers Paul (Pro Organo 7210), CD by GandF (FR Shewan (MM ’83, a CD of music by 006A): Movements DMA ’04) and American, English, for Brass; a quartet Stephen Shewan and French compos- for brass; and a sonata for trumpet and (DMA ’02) are fea- ers recorded in 2006 at St. Stephen’s piano, performed by trumpeter James Searl tured as conductor Episcopal Pro-Cathedral, Wilkes-Barre, (MM ’60) and pianist John Landis (BM ’62). and composer, PA. The selections include In Memoriam For information, write to GandF Associates, respectively, on The Road Less Traveled: Titanic by Joseph Bonnet, who founded 12965 E. 900th St., Macomb, IL 61455. Byways of American Music (TROY 783). the ESM organ department in 1921. Mosaics Several of Stephen’s choral and instrumental in Sound is available at www.zarex.com. Pianist Beata Golec works are included, along with Randall (MM ’05 and a doc- Thompson’s Frostiana, Vaclav Nelhybel’s Prolific pianist Jane toral candidate) Psalm 150, and Te Deum Laudamus by Solose (DMA ’91) recently released a Ron Nelson (BM ’52, MM ’53, DMA ’57), recently released new CD consisting who described Shewan’s recording as “jaw- Variations: Three of her own pieces dropping … the definitive performance of Centuries of Solo Prelude No. 2, this piece. I could not be more pleased!” Keyboard Variations, Toccata, and Forests; Calendar Collection by on Eroica Classical Judith Lang Zaimont; Two Sonatinas by Arvo Caleb Burhans (BM Recordings (www.eroica.com). The program Pärt, and Mozart’s Sonata, KV 330. For more ’03), well-known in consists of variations by Purcell, Bach, information, visit www.beatagolec.us. New York as a free- Mozart, Chopin, Herz, and Liszt. lance violinist, singer, Margaret Martin composer, and ➤ Do you have music or performances on Kvamme (BM ’89), arranger, sticks to a recent or forthcoming CD? Notes wants has recorded her violin in the duo to know! Send a copy to Eastman Notes, debut album, itsnotyouitsme, begun with guitarist Grey Office of Communications, Eastman School Sevenfold Gifts McMurray (BM ’02) when both were Eastman of Music, 26 Gibbs Street, Rochester, NY (Albany Records students. Itsnotyouitsme just released 14604; or just alert us that it is available. TROY 940), on the walled gardens (New Amsterdam 006). The organ of Holy Cross Church in Santa Cruz, New York Times pointed out the musical CA. Included are works by several contem- influences of minimalism and pop, adding porary Americans, including Margaret “Reasonable listeners could disagree whether Vardell Sandresky (MM ’84), Pamela Decker, this is a rock band or a chamber group.” and Emma Lou Diemer (MM ’49, PhD ’60), (www.newamsterdamrecords.com)

26 Eastman Notes | Winter 2008 Pamela Marshall (BM ’76) writes: professor of piano at SUNY-Plattsburgh. “Classical music concerts and envi- Some highlights of the past year ronmental causes don’t often cross include a recital at the Aaron Copland Alumni on DVD paths in obvious ways. In my new, School of Music, appearing as guest composition, The Future of Life for artist with the Biava Quartet on Ever in the vanguard of alumni magazines, Eastman Notes chorus, trombone, and piano, the the Hill and Hollow Music Series in is happy to begin spotlighting DVDs as well as CDs, with chorus sings the message of Dr. Saranac, NY, with the Biava Quartet, two recent opera releases featuring two prominent Eastman Edward O. Wilson—the need to and a recital and master class at alumni. Both are live presentations from the first half of preserve the world’s biodiversity. American University in Cairo, Egypt. I found deep inspiration in his book. 2007, which earned much praise for their stars. Besides He writes with passion and built-in Tim Conner (BM ’85) gave the the main feature, each DVD offers a booklet and some poetry about a topic that needs to world premiere of a new Concerto special features. concern us all.” The Future of Life for Trombone and Winds by promi- was first performed October 28, nent composer David Maslanka on Performing the role of Tatiana, 2007, by the Master Singers in October 28. The 40-minute work Lexington, MA; more information was made possible in part by the soprano Renée Fleming (MM ’83) is available at www.spindrift.com. Abraham Frost Commission Series gives a star turn in a beautiful at the Frost School of Music, and and enthusiastically received Hollis Thoms’ (ESM PhD candidate a consortium of 12 music schools, Metropolitan Opera production ’77¬’79) one-act chamber opera Socrates including Eastman. Tim is professor was premiered on February 18, 2007 of trombone at the Frost School of of Tchaikovsky’s Eugene Onegin at St. John’s College, Annapolis, MD, Music at the University of Miami, (Decca 10525-09). Renée produces conducted by Hollis’ daughter Sonja and he continues to play principal some true diva moments in her (Thomas) Winkler (BM ’03). Hollis trombone with the Florida Act I “Letter Scene”, and particu- was inspired to write the opera, based Grand Opera. on five Platonic dialogues, after com- larly in her final duet with bari- pleting the liberal arts degree (Great Terry Farrow (MM ’85) has com- tone Dmitri Hvorostovsky, who Books curriculum) at St. John’s. Hollis pleted residency and board certifica- plays the opera’s title character. has written about a hundred works for tion in internal medicine at NYU a variety of ensembles, including works Medical Center. He goes on to fel- with his daughter as oboist and his lowship training in HIV Medicine at Tenor Anthony Dean Griffey son Jonas Thoms (BM ’06) as hornist. Harlem Hospital in New York City. (MM ’01) starsin a more controver- Prior to attending medical school, he was a music director and pianist for sial Los Angeles Opera presentation 1980s Broadway and touring musicals and of Kurt Weill and Bertolt Brecht’s was organist/choir director for St. Rise and Fall of the City of Composer Jeff Beal (BM ’85) has Luke’s Church, Forest Hills. He lives Mahagonny (EuroArts 2056258), received an unprecedented five in New York City with his partner. Emmy Award nominations in the staged by Tony Award-winning past two years. He won his third Soprano Renée Fleming (MM ’83) director John Doyle (Sweeney Emmy for his dramatic underscore sang the world premiere of Le Temps Todd). Playing the doomed to the TNT anthology Nightmares and l’Horloge, by the distinguished prospector Jimmy McIntyre, Dreamscapes episode “Battleground,” French composer Henri Dutilleux, starring William with the Saito Kinen Orchestra con- Tony more than holds his own Hurt as a hired assas- ducted by Seiji Ozawa, on September with Broadway scene-stealers sin stalked by little 6 in Matsumoto, Japan. Renée also Audra McDonald (Jenny) and green army men. The sang the first American performances Patti LuPone (Mrs. Begbick), and holds the stage by himself hour-long episode in Boston and at Carnegie Hall had no dialogue, and with James Levine and the Boston in a riveting prison monologue. Jeff’s orchestral score Symphony Orchestra. Earlier in the was featured from start to finish. summer, she inaugurated the brand- Jeff’s most recent CD, the soundtrack new Grafenegg Music Festival, Austria, to Rome (Rykodisc), features the with a recital of favorite opera arias. music he composed for the critically (For more about Renée, see right.) acclaimed HBO/BBC co-production. Jeff’s television scoring can be heard A staged reading for Roxane of Bergerac, weekly on ABC’s Ugly Betty and USA’s a new musical by Dave Flippo (MM Monk, and he has several feature ’80), took place at the Theatre Build- films premiering in 2008, including ing Chicago on October 22. The Al Pacino’s documentary Salomaybe? musical is based on Rostand’s Cyrano and The Deal, a comedy starring de Bergerac, telling the tale from William H. Macy and Meg Ryan. Roxane’s point of view. Book and lyr- ics are by Marie Yuen. The music Karen Becker (BM ’87) recently blends baroques and jazz styles, add- completed her third year as assistant ing Spanish tango and flamenco.

Winter 2008 | Eastman Notes 27 In memoriam

1930s Marion E. (Benedict) Miller David Johnson Evelyn Thomas (MM ’47), May 2007 (BM ’56), June 2007 (MM ’70), December 2007 Shirley Brockman Mac Morgan Petter Juel-Larsen (September 2007) (BM ’40), June 2007 (DMA ’56), November 2007 1980s F. Lee Fairley David Oppenheim J. Robert Kelly (BM ’39, MM ’41), May 2007 (BM ’47), November 2007 (MM ’52), July 2007 Raymond Pickens Mary Kay Wood Haley Naomi Ornest Yokel Louise Kingman (BM ’85, MA ’98), (BM ’38), July 2007 (BM ’46), March 2007 (BM ’50, MM ’51), August 2007 Lillian Hangen Norman Rose October 2007 David Remington (x ’36), November 2007 (BM ’48), July 2007 Richard Lanshe (MM ’81), June 2007 Harriet Hopeman Alice Stallworth (MA ’56, PhD ’70), May 2007 (x ’37), December 2007 (BM ’43), November 2007 Richard Schuler 1990s Beatrice Shelley Robert Waterstripe (MA ’50), April 2007 (BM ’36), December 2007 (BM ’49, MM ’50), Salvatore Silipigni Edward Mizma Mildred Stalker September 2007 (BM ’51), April 2007 (MM ’93), July 2007 (BM ’34), December 2007 William Whybrew Howard Small Maxwell Roach Ann Stewart (BM ’43, MM ’47, PhD ’53), (BM ’54, MM ’61), July 2007 (HNR ’90), August 2007 (BM ’37), July 2007 July 2007 Dorothy Walker 1960s ➤ We know that timely report- (BM ’33), August 2007 1950s ing of alumni deaths is important Ruth Wetzel Melvin Alford to our readers. At the same time, (x ’39), October 2007 Bruce Benward (MM ’64), June 2007 we must ensure that our reports (PhD ’51), September 2007 Margaret Donnelly are accurate. Therefore, we ask Virginia Berger (MM ’64), December 2007 1940s that friends and family send (MA ’57), June 2007 S. Johnette Eakin-Schuller us either an obituary or a let- Calvert Bean Robert Cunningham (MM ’64), September 2007 ter of confirmation in notifying (BM ’49), November 2007 (BM ’50), June 2007 Theodore Herzel us of someone’s death. Please Joseph Bein John Eargle (MM ’67), September 2007 write to Eastman Notes, Office (BM ’41, MM ’48, PhD ’70), (BM ’53), May 2007 of Communications, 26 Gibbs October 2007 George Eddinger 1970s Street, Rochester, NY 14604. Thaddeus Biernat (BM ’51), August 2007 (BM ’49), May 2007 Jerry Etheridge Ulrich Bauman Stanley Green (BM ’52, MM ’53), (DMA ’74), December 2007 (BM ’49, MM ’50), November 2007 Martha Herby November 2007 Walter Green (MM ’76), October 2007 Lawrence Kinney (BM ’51), December 2007 Allie Jensen (BM ’46), August 2007 Anne Haynes (MM ’77), October 2007 Anthony Kooiker (MM ’56), May 2007 Kimberly Schmidt (MM ’44, PhD ’63), Benjamin Husted (BM ’72, MM ’75), October 2007 (PhD ’55), May 2007 August 2007

28 Eastman Notes | Winter 2008 ALUMNI NOTES

Dave’s second musical, Amelia, tells ing with Thailand university officials the Wind-Song Center in Little Rock, all in the Tampa Bay area. Cory is the life and adventures of Amelia on the imminent founding of the AR, on October 26. Karen is the pro- writing a book titled Breaking the Earhart, blending jazz and show tune nation’s first archives of modern ducer, conductor, and viola soloist Bach Tempo Code: Tempo and styles; it will have a reading at the Thai art. on Alan Hovhaness: Music for Horn, Duration in the Music of J.S. Bach. Theatre Building Chicago on March Voice, and Strings (Centaur 2872), 27. Anyone interested in either musi- Trombonist Antonio Garcia (MM ’85) that features the Hendrix College Mary Jo Heath (PhD ’88) is in cal can visit www.flippomusic.com. was interviewed in the October 2007 Chamber Orchestra with Robin her second season as Senior Radio International Musician about his recent Dauer, horn, and Suzanne Banister, Producer at the Metropolitan Opera, Gregory Galligan (BM ’82) received book Cutting the Changes: Jazz Impro- soprano. Karen is president of The leading the team that produces the the PhD in modern art history from visation via Key Centers, a guide for the Arkansas Viola Society, a new chapter revamped Saturday broadcasts heard the Institute of Fine Arts, New York teaching and learning of jazz impro- of the American Viola Society. She live by 11 million people worldwide University, in September 2007. visation based on the key centers of will host the first conference of each week ,as well as the live broad- Gregory wrote his doctoral disserta- classic tunes rather than chord symbols. ARVIOLAS February 2-4 at Hendrix casts heard three nights per week on tion, The Cube in the Kaleidoscope, College in Conway, AR, where she is the Met Opera Radio Channel on the on the reception of French Cubism Karen Griebling’s (BM ’80) Suite chair of the music department, Sirius Satellite network during the by American abstract painters for Horn and Piano was performed teaches viola and composition, and Met season. She is often heard on during the interwar period. He is at the International Horn Society’s conducts the college orchestra. the broadcasts, interviewing artists organizing a second exhibition of Conference at La Chaux-de-Fonds, or hosting the opera quiz. This year the drawings of the American Switzerland, on July 11, and at the Cory Hall (MM ’88) taught piano she will host live discussions with Synchromist painter, Morgan Russell Mid-South Horn Conference in for three years in Kassel, Germany, the casts of Die Zauberflöte and Peter (1886-1953), for the Montclair Art Kansas City, MO. It was premiered subsequently earning an MM in Grimes in the Metropolitan Opera Museum, where he is a consultant at the Southeast Horn Conference in musicology and DMA in piano from Guild lecture series. and contributing scholar for the Athens, GA, in March 2007. Karen’s the University of Kansas as a gradu- Museum’s 2009-2010 exhibition Choral Fantasy Variations, commis- ate honors fellow. He remains Ann Margaret Lamoureux (BM ’81) with the Baltimore Museum of Art, sioned by Hendrix College, was pre- busy teaching humanities at St. continues her piano teaching at the Cezanne and American Modernism. miered by members of the Hendrix Petersburg College, piano at Eckerd JPB Piano Studios in Swansea, MA, Gregory is a contributing editor for College Chamber Chorale under the College, and serving as organist at and in her hometown of Dartmouth, Art Asia Pacific, and has been consult- direction of Dr. Nancy Fleming at Anona United Methodist Church, MA. She has been minister of music

Milan Yancich

Milan Yancich, who was a lec- Milan Yancich received a bach- Cleveland Orchestra (1951–52) to French Horn Playing, all turer in horn at the Eastman elor’s degree from the University before coming to Rochester. published by the company he School and a horn player in of Michigan and a master’s degree He played in the Rochester Phil- founded, Wind Music, Inc. In the Rochester Philharmonic from Northwestern University, harmonic Orchestra from 1953 to 1996 he published An Orchestra Orchestra for many years, and played principal positions 1997, and taught at the Eastman Musician’s Odyssey: A View from died on August 7, 2007, in in the Columbus Philharmonic School from 1957 until 1992. the Rear, an account of his life Lake Placid, NY. Yancich was Orchestra (1946–51), Chicago as an orchestral musician and 86 years old. Symphony (1948–51), and Many of Milan Yancich’s students his “insider’s” reminiscences of went on to successful careers such notable musicians as Erich as performers, teachers, and Leinsdorf, George Szell, and administrators; his son Paul is Howard Hanson. principal timpanist of the Cleveland Orchestra, and his son In June 1997, Milan Yancich, Mark is timpanist of the Atlanta along with another longtime Symphony. Yancich is also sur- Eastman horn teacher and RPO vived by another son, Milan; a musician, Morris Secon, received daughter, Nicki Politi; and his the International Horn Society’s wife, Pauline White Yancich. Punto Award, commemorating their long and outstanding careers. Yancich was a notable author In remembering Yancich, Secon and editor of music and meth- said, “He was such a great low ods for the horn, including horn player; when he turned Fifteen Solos for French Horn loose, the floor resonated. He and Piano, Method for French was a remarkable technician, Milan Yancich in performance with the RPO in the 1970s. Horn Playing, and Practical Guide and as nice as he was good.”

Winter 2008 | Eastman Notes 29 ALUMNI NOTES

at St. Peter’s Episcopal Church in Richard Stolzman as soloist) was warmth of Orlando, FL. Terry Organ Music for the Church Year,” South Dartmouth since 1995. Ann’s released on MMC Recordings. is teaching organ, piano, and to a gathering of the United Church students perform regularly in coursework as adjunct professor of Christ Musicians Association. various venues in southeastern Gene Scheer (BM ’81, MM ’82), at the University of Central Florida, Jason is chair of the selection com- Massachusetts. In her free time, whose Eastman degrees were in Rollins College, and St. Andrew’s mittee for the Charlotte Hoyt Ann is a volunteer for Catholic voice, has become one of the most Music Academy. Laura is an adjunct Bagnall Scholarship for Church Family Life Insurance, and with the called-upon writers by American professor of voice at the Univer- Musicians, and is an accompanist New Bedford Symphony Orchestra. composers of vocal music. Gene’s sity of Central Florida and the and organist for CONCORA operatic adaptation of Melville’s administrative assistant to the (Connecticut Choral Artists). Jacqueline LeClair (BM ’88) was Moby Dick, with music by Jake assistant vice president for adult the soloist with the New Millennium Heggie, was announced for the studies at Belhaven College. Both Todd Coleman (MM ’99, DMA ’02) Ensemble in the world premiere of Dallas Opera’s 2009¬2010 season, Terry and Laura maintain private has joined the faculty of Elon Charles Wuorinen’s oboe concertino with Ben Heppner singing the music studios as well. University in North Carolina to Iridule at New York’s Symphony role of Captain Ahab. establish a new bachelor of science Space on September 20. Also per- degree program in music technology. forming were two other ESM 1990s Prior to coming to Elon, he taught alumni: Margaret Kampmeier, electronic music, composition, and piano (BM ’85), and Greg Hesselink, Matthew Bribitzer-Stull (MA ’97, transmedia art for four years at cello (BM ’90). Part of the funding PhD ’01) was given the Emerging Grinnell College. Coleman teaches for Iridule (which is dedicated to Scholar Award by the Society for courses in composition, electronic Jacquie and New Millennium) Music Theory, recognizing a paper music, critical listening, technology came from the Hanson Institute. he published in Music Theory in the arts, and new media, and also Spectrum in 2006. Matthew has directs the newly created Electronic David Moore (BM ’86) announces also recently had papers accepted Ensemble. His new flute concerto, that “The University of Tulsa Orchestra, by Music Analysis, Journal of Music commissioned by the Barlow directed by [sic!] Richard Wagner, Theory, Intégral, and the Journal of Endowment, was premiered in gave the first performance of my Schenkerian Studies. Matthew’s com- March 2007 by flutist April Clayton Seminole Autumn Rondo on November pilation of essays, Richard Wagner for and will be commercially released 12, in its Oklahoma Centennial the New Millennium: Studies in Music on CD in 2008 by Tantara Records. Concert. The piece was written as and Culture, co-edited with Gottfried A new work for wind ensemble, part of the University’s celebration of Wagner (great-grandson of the com- commissioned by a consortium of 10 Oklahoma’s centennial (1907¬2007). poser) and Alex Lubet, was pub- universities will be premiered during I’m a native Oklahoman, and lived as Paul Sportelli: Directing Night lished by Palgrave in 2007. Matthew the 2007¬2008 season throughout a child on a farm near Seminole, in Music and matinées for Canada’s and his husband, Jason Bribitzer- the country. For more information, the south central part of the state. Shaw Festival. Stull (UR MBA ’97), continue to visit www.toddcoleman.net. My wife, Susan Goldman-Moore enjoy living together in Minneapolis. (BA ’71), and I continue to teach at Paul Sportelli (BM ’83) co-wrote Greg Falkenstein (BM ’94) writes: the University of Tulsa School of the new musical Tristan (based on Carlos Carillo (BM ’94) was recently “I wanted to share some exciting pro- Music. We’re very proud of our a short story by Thomas Mann), named conductor of the Wabash fessional news. After eight seasons daughter, Hannah, who is 13 and which was premiered last summer Valley (IN) Youth Symphony, and made as a section violist in the Phoenix participates in community theatre at Canada’s Shaw Festival, and ran his debut with them on November 9, Symphony, I won the orchestra’s productions.” from July 12 through October 6; leading works of Mendelssohn and recent national audition for assistant he was also music director for The Beethoven. Carlos teaches composi- principal viola.” Stephen Rush (MM ’83, DMA ’85) Shaw’s presentation of Jerry Herman’s tion and theory at DePauw University; will premiere his fourth opera, Two Mack and Mabel. Paul is entering his a work of his for the American Nan Gullo Richmond (DMA ’92) Candles Burning, in the spring of 10th year as The Shaw’s music direc- Composers Orchestra was premiered won the Eastman Community 2008. It is a chamber opera scored tor; in 2008 he’ll conduct Stephen in January 2005 at Carnegie Hall. Music School’s Jack L. Frank Award for four soloists and string quartet, Sondheim’s A Little Night Music and for Excellence in Teaching. In addi- with a libretto by his frequent collab- Leonard Bernstein’s Wonderful Town. In August 2007, Jason Charneski tion to her studio teaching, Nan orator, Michael Rodemer (librettist (BM ’96, organ), director of music also directs two harp choirs, and is for Stephen’s vidGod and ¡¡Stop Blaming The Refuge, a new opera with and the arts at Center Church in the coordinator and director of the Columbus!!). Steve’s book on contem- libretto by Leah Lax and music by Hartford, CT, led the church’s choir ECMS Harp Workshop, held each porary liturgy, Better Get It In Your Soul Christopher Theofanidis (MM ’92), and friends on a tour of places in summer at Eastman. (with Rev. Reid Hamilton), will be had its premiere at Houston Grand England where the church’s founding released by Church Publishing in Opera in November. The opera tells ministers, Thomas Hooker and Kelly Hall-Tompkins (BM ’93) 2008. Steve appeared with perfor- the stories from Houston’s African, Samuel Stone, served prior to their announces the creation of her new mance artists last winter at the Central American, Indian, Mexican, move to New England and founding website, www.kellyhall-tompkins.com. Kitchen and the Joyce Theatre¬Soho, Pakistani, Soviet-era Jewish, and of Center Church 375 years ago. “For those of you who are familiar playing laptop and synthesizer. He Vietnamese immigrant communities, The choir sang weekend services in with my previous website, everything presented his Six Treatments for and featured performers from Leicester and Chelmsford cathedrals has been redesigned, revamped and Laptop and Carillon at Eastman’s those communities. and concerts in All Saint’s Parish updated with many exciting new Computer Music Festival, and Church, Hertford, and the United projects including Music Kitchen, recently completed two tours with Terry A. Yount (DMA ’80) and Reformed Church Chapel in Little my new concertmaster and soloist his New York-based trio Yuganaut. Laura Angus Yount (MM ’75) Baddow. In October 2007, Jason pre- position with the Chamber Orchestra Steve’s Clarinet Concerto (with continue to enjoy the sun and sented a workshop, “Accessible of New York (a brand new orchestra

30 Eastman Notes | Winter 2008 Photo courtesy of shaw festival debuting in Zankel Hall this season), Keaton and Jon Heder), Room Service and my new CD, In My Own Voice. (short film starring Howie Mandel), There are more than 10 minutes of To Kill A Bore (shown at the 2006 A dynamite diva preview tracks from the disc avail- Cannes International Film Festival), Eastman graduates who able for listening on my discography They Say It’s Wonderful (winner, Best page! And if you feel so inclined, Short Film, Long Island International make it to Hollywood please sign my guestbook!” Film Expo 2006), and Dance School are generally there to (a three-part documentary about write or perform movie Erin Hannigan (MM ’96) was the Juilliard dance program). Visit soundtracks, but we’ve appointed principal oboe of the www.composerjohn.com for more Dallas Symphony Orchestra in information and audio samples. produced at least one November. Erin was the first musi- movie star of sorts. Irene cian appointment of new DSO music Robert Lehmann (MM ’92) was Manning (1912–2004) director Jaap van Zweden, who calls granted tenure and promoted to graduated in 1932 with her “a pure diamond.” Erin joined associate professor at the University the DSO in 2001 as second oboe, of Southern Maine School of Music, an Eastman degree in and was interim principal oboe where he is director of strings and voice as Inez Harvuot, since September 2006. orchestral activities. He is looking and took her singing and forward to an exciting second season acting talent and glamor- as music director of the Portland Chamber Orchestra as well as the ous looks to California. She sang in several stage produc- 60th anniversary season of the North tions, getting her big break (and her first screen kiss) with Shore Philharmonic Orchestra, Gene Autry in The Old Corral (1932), using the nom du which he also conducts. He will guest cinéma Hope Manning. As Irene Manning, she made only conduct the Portland Symphony again this fall, after two successful 12 movies in the ‘30s and ‘40s, but they included some high- guest appearances last season. profile assignments: sing- ing opposite James Cagney Marc C. Thayer (BM ’93, MM ’95) in Yankee Doodle Dandy was a performer and faculty member Gregory Jones and Christian at the Iraqi Summer Performing Arts (1942) and Dennis Morgan Lindberg in Corfu, Greece. Academy in July 2007. The festival in The Desert Song (1943), took place in Erbil in northern Iraqi and acting sultry with In May 2007, Gregory Jones Kurdistan, organized by American Humphrey Bogart as the (DMA ’92), professor of music at Voices and sponsored by the U.S. Truman State University, was a State Department and the Kurdish doomed heroine in the featured performer at the first-ever Ministry of Culture. Three orchestras hard-boiled gangster drama The Big Shot (1942), whose China Trumpet Guild Conference, participated: the Iraqi National trailer described her as “Dynamite wrapped in Sable!” held in Beijing. Gregory presented Symphony from Baghdad, and master classes and performances at string orchestras from Erbil and According to Paul Roxin (author of One Foot on the Ground: this prestigious event, and in several Suleimanya. There were dance, jazz, A Pilot’s Memories of Aviators and Aviation and husband of other Chinese cities. In July 2007, and children’s theater components Gregory traveled to the Greek island with 10 American faculty members Beatrice Roxin BM ’48—and a friend of Irene Manning’s late of Corfu to perform and teach as and over 300 Iraqi artists involved. in her life), Irene was the last singer to perform with Glenn part of the Fifth Ionian Academy The orchestras consisted of Kurds, Miller, recording several American pop songs in German with of Music, joining principal brass Arabs, Shia, Sunni, and Christian him just before his disappearance over the English Channel players from the Royal Concertgebouw musicians with a Jewish conductor, Orchestra, the Mnozil Brass, trombon- David Handel. In the final concert in December 1942. In the 1950s Irene appeared on TV in ist Christian Lindberg, and other all of the orchestras were combined England and America, and later on stage in revivals of Pal professionals from Europe to help into one large Unity Orchestra and Joey, Mame, and The King and I. She spent her retirement students from around the world performed with each of the conduc- teaching singing and acting in California—and she remains improve their musical skills. tors involved in the new Kurdish Ministry of Culture Auditorium. the only Eastman grad ever to take a bullet for Bogie. John Kaefer (BM ’99) is busy with The concerts were broadcast live various projects for film, television, throughout Iraq. “It was certainly and the concert stage. Recent com- one of the best experiences of my missions include REVOLUTIONS life,” says Marc; “the people we PER MINUTE for The Haddonfield worked with were really wonderful, Symphony and Silhouettes for Les and I look forward to going back. Amis Musicalles, a Los Angeles- John Ferguson, Director of American based trio. He is writing a new work Voices, and I are working on a return for organists Paul Jacobs and Andrew trip later this year to do a teacher Henderson. Recent film and television training workshop for a couple projects include Mama’s Boy (Warner of weeks along with some perfor- Brothers feature film starring Diane mances with musicians there.

Winter 2008 | Eastman Notes 31 ALUMNI NOTES

And we hope to repeat the Academy first principal harp position in a next summer.” major orchestra that has opened in more than six years. Julie will play Jason van Eyk (MM ’98) joined the the spring 2008 season as needed University of Toronto on November and formally join the TSO in fall 2008. 26 as the first director of ArtsZone. This office will connect arts activity Meghann F. Eckenhoff (BM ’01) across all three UT campuses to drive has been selected as one of 10 interdisciplinary activity, student fellows in The Kennedy Center engagement, and community net- Institute for Arts Management works. Jason was the Ontario Regional Fellowship Program at the Kennedy Director for the Canadian Music Center for the Performing Arts for Center—a national music informa- the class of 2008. tion centre dedicated to collecting, distributing, and promoting the Juliet Grabowski (BM ’06) currently work of Canadian composers. works at the Boston-based marketing firm Digitas, where she is a senior Caroline Whiddon (BM ’92) writes: analyst in the company’s strategy “Eastman faculty member and alum- and analysis group. In her free time nus Phillip Ying was the featured she plays the koto, a 13-string zither soloist during the Vermont Youth from Japan. Orchestra’s summer concert tour of Chris Martin China. Phillip was invited to perform Danan Healy (MM ’00) recently with the orchestra by their executive gave three Christmas concerts in director. The orchestra gave perfor- upstate New York in support of mances in Beijing, Shanghai, Hangzhou, the release of her album Christmas and Hong Kong. Phillip performed Time Rocks, which includes two the Romance in F major, Op. 85 by original songs along with holiday Showing Off Bruch, followed by Bloch’s Suite standards. More information at hébraïque. Oh—and I should men- www.dananhealy.com. There’s much more to Eastman than Notes! Each month, the tion—these were Phillip’s first per- “Eastman Showcase” section of our website singles out an formances in China, and the very Mark Houghton (BM ’02), principal Eastman student or alumnus who is taking music further. first concert we played was in Beijing hornist of the Fort Worth Symphony Recent showcases have included: … on Phillip’s birthday. What a way to Orchestra since 2005, was profiled celebrate! Of course, there was a in a November 2007 issue of the • Chris Martin (BM ’97) and other ESM grads bring brazen beautiful cake shared after the con- Fort Worth Star-Telegram, including cert in his honor.” a mention of his “Mahler Moment”: talent to the Chicago Symphony’s fabled brass section playing the solos in the composer’s • An Eastman scholar in Bologna, Italy: musicology Fifth Symphony during the orches- professor Patrick Macey 2000s tra’s Mahler Festival in August. • The Ying Quartet plays a little Stephen Sondheim music Julie Barnes Spring (BM ’06) has Violinist Elana Klotz (BM ’06) is The site is updated and archived regularly, so keep visiting been appointed principal harp of the currently teaching at the Hochstein www.esm.rochester.edu/experience/showcase.php. And, of Toronto Symphony Orchestra—the School of Music in Canandaigua, course, keep reading Notes!

Ying Quartet

Fifth House Ensemble with Melissa Ngan Snoza (BM ’02), (front center, in white) and Eric Snoza (BM ’01, behind Melissa, with beard).

32 Eastman Notes | Winter 2008 PHOTOGRAPH BY Todd Rosenberg (CHRIS MARTIN) as well as in the Catholic school Megan Sesma (BM ’02, UR BA ’02) system of Rochester. This past was appointed as instructor of harp summer, Elana and her fiance, at Wesleyan University in Middletown, Tim, purchased a home in Brighton. CT, and as adjunct instructor of harp Coincidentally, the house was for- at the University of Connecticut in merly owned by the late Eastman Storrs, CT. composition professor Wayne Barlow. Leah M. Tomasino (BM ’01) is Nathanael May (MM ’01) announces in her sixth year as the Hauppauge that the Cortona Contemporary Music High School orchestra director on Festival, which he founded in 2005, Long Island. She completed her has changed its name to the sound- master of arts from Stony Brook SCAPE new music festival and is University and a master of science expanding its size and scope. The in educational administration from festival facilitates the exchange of the College of St. Rose. She pre- new music, ideas, and culture among sented a workshop at the New musicians of tomorrow’s generations. York State Reading Association Eastman involvement in sound- Conference, and is currently in SCAPE includes musicology profes- her second year as the New York sor Martin Scherzinger and pianist American String Teachers Association Thomas Rosenkranz (DMA ’06). Secretary. Leah has published articles in The School Music News and The J. Gregory Miller (BM ’06) was NYASTA Bridge, and is active in NY appointed third horn of the Flagstaff music organizations such as SCMEA, Symphony Orchestra. NYSSMA, and ASTA, and continues to play in orchestras in the community. Melissa Ngan Snoza (BM ’02) is the flutist and executive director Colin Tribby (MM ’06) was recently for Fifth House Ensemble, which appointed adjunct instructor of has presented performances and percussion at Davidson College educational concerts in the Chicago in Davidson, NC. He was commis- area since 2005. The group recently sioned by choreographer Dianne launched its first subscription series Markham to compose music for at the Joy Faith Knapp Music Center her new work, Motorbase, which in Chicago. Information on more was premiered at the North Carolina recent concerts and events is avail- School of the Arts in November. The able at www.fifth-house.com. piece utilizes rhythms found in both (See photo on p. 32.) natural and man-made motors. Colin was a featured performer with the Open Dream Ensemble at the 2007 PAE (Performing Arts Exchange) in Louisville, KY.

Zachary Wadsworth (BM ’05) MELIORA won the first prize of $3,500 in the ASCAP/Lotte Lehmann Foundation WEEKEND Art Song Competition in November, Zachary has been commissioned OCTOBER 16 — 19, 2008 to write a song cycle for voice and piano, to be published by E C. Schirmer and to be performed EASTMAN in three major U.S. cities.

Janet Wightman (BM ’05) is going WEEKEND Colleen Phillips McAtee and back to the future, musically speak- Connor Aidan McAtee. ing. She recently started graduate studies at the Schola Cantorum Save the date and make your plans to return Colleen Phillips McAtee and her Basiliensis in Basel, Switzerland, to Rochester. husband, Nate, announce the birth where she is studying medieval and of their first son, Connor Aidan, renaissance harp and vielle with a For the entire Eastman community. on May 25, 2007. Colleen is taking side concentration in Renaissance a leave of absence from her job as a dance. Janet still plays some modern www.esm.rochester.edu/eastmanweekend high school orchestra director to and baroque oboe, but is enjoying care for the new baby. They reside the drastic switch of instruments in Northern Virginia. and repertoire.

W08_notes ad.indd 1 Winter 2008 | Eastman Notes2/12/08 33 9:09:16 A FACULTY NOTES

Sylvie Beaudette, assistant professor the book Liszt and His World (Oxford of chamber music and accompanying, University Press). wore a somewhat different hat last fall, when she was French-language Professor of Piano Rebecca Penneys coach for the Houston Grand Opera’s has announced “a lot of great things production of Donizetti’s La Fille du happening all at once!” in fall 2007. regiment (The Daughter of the Regiment). Rebecca played and taught in Chile Chorus master for this production and Argentina in October. This was Richard Bado (MM ’83). summer she will celebrate her 30th consecutive season as a faculty mem- The Kopelman Quartet (led by ber at Chautauqua, with an event in Professor of Violin Mikhail the Amphitheater. Rebecca adds that Kopelman) received rave reviews in 2008 Chautauqua will inaugurate for its performances in the West its first season as an all-Steinway Cork (Ireland) Chamber Music Festival, and will open a renovated Festival last summer, performing piano studio and a new 250-seat hall. Robert Morris Tchaikovsky’s Trio in A Minor and The Chautauqua Piano Competition Shostakovich’s Piano Quintet with will launch a first prize of $7500, pianist Elisabeth Leonskaya, as well named the Rebecca Penneys Prize. as Shostakovich’s Eighth Quartet, Composers taking flight in which, “Intense vibratos, a vast Marie Rolf, professor of theory dynamic range and an instinctive and dean of graduate studies, Whether their music was played outside or danced to inside, the sec- sense of time and phrasing made published her article “Symbolism ond half of 2007 was a banner time for Eastman composers. Robert every last bar drip with high drama.” as Compositional Agent in Act IV, Morris’ 2005 piece Oracle was played by Ossia at Rochester’s George Scene 4 of Debussy’s Pelléas et Mélisande” in Berlioz and Debussy: Eastman House, or rather outside of it, on September 13. Oracle is one Sources, Contexts, and Legacies: of a series of works by Bob designed for performance in natural settings. Essays in Honor of Francois Lesure, edited by Barbara L. Kelly and Carlos Sanchez-Gutierrez won the 2007 Barlow Prize for Kerry Murphy and published last Composition, awarded by Brigham Young Uni-versity. Carlos will fall by Ashgate Press. Marie’s tribute write a new work for percussion ensemble to be premiered in to Alfred Mann is on p. 16. Toronto, Stockholm, and New York City. He was also composer-in- Assistant Professor of Musicology residence at the Morelia International New Music Festival in Mexico Martin Scherzinger published in June, and at the Seattle SLAM Festival from September 27-29. “Remarks on a Sketch of György Ligeti: A Case of African Pianism” Choreographer Garth Fagan’s EDGE/JOY was a great success at its (on Ligeti’s Étude no. 12, “Entrelacs”) “inaugural preview” in Rochester (during UR Meliora Weekend) and in the March 2007 Mitteilungen der at its formal premiere at New York City’s Joyce Theatre in November. Paul Sacher Stiftung. Ricardo Zohn-Muldoon’s Candleabra, Jacaras, and Paramo, per- Professor Emerita Kerala Snyder’s formed live by an Eastman School ensemble led by doctoral con- classic biographical study Dieterich ducting student Reuben Blundell, formed the “soundtrack.” Professor of Musicology Kim Kowalke Buxtehude: Organist in Lübeck was enjoyed a run on Broadway this re-issued in summer 2007 by the Allan Schindler was awarded a $10,000 commission from the Fromm spring. His 1997 book Speak Low University of Rochester Press to Music Foundation at Harvard University, for a work for marimba and (When You Speak Love): The Letters great acclaim and is in its second of Kurt Weill and Lotte Lenya, edited printing. The new edition of this Take eight-channel live audio processing. The work, tentatively titled with the late Lys Symonette, was book not only includes a great deal Flight in celebration of the centenary of aeronautical navigation, will turned into the musical LoveMusik of new historical and research mate- be premiered and recorded by marimbist Nathaniel Bartlett (BM ’00). by prizewinning playwright Alfred rial, but also a CD of Buxtehude’s Uhry and director Harold Prince. organ music by Professor Hans David Liptak’s Melissa’s Quilt, for marimba and viola, was per- The show, starring Michael Cerveris Davidsson (who is busily recording formed at New York’s Symphony Space in October, and his Trio as Weill and Donna Murphy as all of it—see “Faculty on CD”, p. 35). for Viola, Percussion, and Piano was performed at Eastman in Lenya, opened in May at the Biltmore Kerala spoke on Buxtehude at the Theatre. The show’s run was brief, 2007 EROI Festival, is scheduled November, featuring violist George Taylor. but a recording of the score is avail- for EROI 2008, and presented at able on the Ghostlight label. Eastman’s Tribute to Alfred Mann On May 9, ESM celebrated the 80th birthday of Verne Reynolds in November 2007. with a substantial program of his chamber music performed by Ralph Locke, professor of musicology, faculty members. In December, Joseph Schwantner returned to was honored again in the 2007 ASCAP- on the web For regular updates Eastman to hear the Wind Ensemble perform Recoil (2005) and the Deems Taylor Awards for excellence on Eastman faculty members’ in writing about music. This time concerts. lectures, publications, Philharmonia Angelfire (commissioned by the Hanson Institute) with Ralph won for his article “Liszt on and other activities, visit www.esm. Professor of Violin Charles Castleman as soloist. the Artist in Society,” a chapter in rochester.edu/faculty.

34 Eastman Notes | Winter 2008 FACULTY NOTES

Eastman faculty on CD

have received strong reviews; see the Winter some of the most colorful Baroque music that 2007 Notes for details. The Greater Good ever emanated from an organ pipe,” and calls was on The New York Times’ “Best Classical the Gothenburg organ “a fabulous sounding Recording” list for 2007. piece of work.”

Violist and longtime Naxos has produced Eastman professor a new CD of another Paul O’Dette, director of Eastman’s early John Graham recently Eastman-related music program, recently received acclaim for released a fourth CD American opera: Merry recordings as a lutenist and as a conductor. to join the others in Mount, by longtime His first installment of lute works by J. S. Bach his Music for the Viola director of the School (Harmonia Mundi HMU 907438) includes the series. John is joined Howard Hanson (Naxos Suite in G Minor BWV 995, Partita in E, BWV by another Eastman favorite, pianist Barry 8669012), in a performance taped in 1996 1006a, and a transcription of the Solo Violin Snyder, in cornerstones of the viola repertory: under conductor Gerard Schwarz, a champion Sonata in G Minor, BWV 1001. Paul, with fellow the two Brahms sonatas Op. 120 (originally for of Hanson’s orchestral works. Premiered at conductor Stephen Stubbs, leads the Boston clarinet), and the Sonata Op. 11, No. 4 by Paul the Metropolitan Opera in 1934 but seldom Early Music Festival in the first commercial Hindemith. For information on this CD and performed since, Merry Mount, according to recording of Jean-Baptiste Lully’s Thésée John’s earlier CDs of 20th-century viola music, Musicweb International’s Rob Barnett, offers (cpo 777240), which was recently nominated visit www.grahamviola.com. Hanson’s “lyrical impulse at full stretch … this for a Grammy as “Best Opera Recording.” red-blooded recording should win the work ClassicsToday.com noted, “Thésée is a The versatile Ying new admirers.” museum piece, but here it is led, played, Quartet follows and sung with such verve that it instantly its recent Grammy- If you want to hear brings to life the period in which it was born.” nominated set of Brahms’ Op. 120 sonatas Tchaikovsky quartets in their original form Soprano and early- with something com- by an Eastman artist, music virtuoso Julianne pletely different: Dim we have a CD for you: Baird is a frequent and Sum (Telarc 80690). As the title suggests, this Harmonia Mundi 907430, popular voice instruc- is an appetizing selection of bite-sized musi- with clarinetist Jon tor during Eastman’s cal morsels in the form of short works by Manasse joined by a Rochester favorite, pianist summer sessions. living Chinese-American composers blend- Jon Nakamatsu. James Oestrich’s recent review The latest in her long ing traditional Chinese and Western classical in The New York Times praised Jon M’s “deft list of recordings, Flaming Rose (Chaconne sounds, including Chou Wen-chung (Larghetto technique, exquisite sensitivity, and smooth, CHAN0743), is actually a recording of Handel’s Nostalgico and Leggierezza), Tan Dun (Drum flowing tone,” and described Jon N’s accompani- Nine German Arias, backed by the ensemble and Gong, Cloudiness, Red Sona), and Bright ment as “meltingly beautiful.” Tempesta di Mare, who begin and end the CD Sheng (Silent Temple II and IV). with two of Handel’s Trio Sonatas. In our last issue, we Stephen Hartke’s opera mentioned the first vol- The Greater Good, or ume of a series of the The Passion of Boule organ music of Dieterich de Suif, commissioned Buxtehude, performed by Eastman’s Hanson by Eastman professor Institute, is now avail- Hans Davidsson on a able in an “original cast mean-tone tuned organ in Gothenburg, Sweden. recording” from the summer 2006 premiere Volume 2, titled The Bach Perspective, has just production at Glimmerglass Opera (Naxos been released on the Loft label (71117). The web- 8669014). Both production and recording of this site Classical Lost and Found reports that Hans adaptation of a Guy de Maupassant short story uses “every trick at his disposal to come up with

Winter 2008 | Eastman Notes 35 STUDENT NOTES

Notes is happy to trumpet Rachel Kincaid’s achievement as a Marshall Scholar.

Only 37 students won the presti- 2007: DMA student Chris Naugle Huckabay, performed in Mexico, Besides Huckabay and Hennings, gious Marshall Scholarship in 2007, was appointed instructor of horn in repertoire that ranged from the band included clarinetist and one of them was an Eastman at Nazareth College (Rochester); John Dowland songs to new works Andrew Brown, trombonist student: senior Rachel Kincaid, and Katie Carothers McBain by Sanchez-Gutierrez and recent Peter Fanelli, percussionists who is also the first University of (MM ’00, currently a DMA student) alum Jacob Bancks (MM ’06). John Hain and Bajinder Sekohn, Rochester student to receive this was named visiting instructor of In December, Eastman BroadBand harpist Lucy Haslar, violinist honor since 1988. A trumpet player horn at Eastern Illinois University. traveled to Festival Spaziomusica Hanna Hurwitz, saxophonist and composer, Rachel impressed in Cagliari, Sardinia, with a group Barbara Larson, cellist Florent the Marshall Scholarship judges Last summer, two Eastman students performing two chamber operas Renard-Payen, and pianist not only with her musical abilities, of Bonita Boyd took first prizes in including Comala by Zohn-Muldoon. Arthur Williford. but also with her ideas for writing the National Flute Association’s and performing music that might two largest competitions. This is connect audiences to different cul- the first time that students from tures, and also rouse its listeners to one music school have won both political and social action. Marshall prizes. Doctoral student Hue Sung Scholarships, established in 1953 by Choe won first prize ($5,000 and the British Parliament as a thank-you an appearance at the 2008 NFA for American assistance after World Convention) in the Young Artist War II under the Marshall Plan, Competition, and senior Heather award American undergraduates Zininger took top honors in the and recent college graduates with Orchestral Excerpt Competition. two years of study at any university The competitions took place in in the United Kingdom. In her first August, during the 2007 NFA year, Rachel will study for a master’s Convention in Albuquerque, NM. degree in trumpet performance at the Royal Northern College of Music, “Eastman BroadBand,” an initiative Manchester; and in the following by composition professors Ricardo year will begin work on a second Zohn-Muldoon and Carlos Sanchez- master’s degree in composition at Gutierrez, is bringing contemporary the Royal Scottish Academy of music, and many Eastman student Music and Drama, Glasgow. musicians, into the international This fall, members of Eastman BroadBand brought contemporary limelight. In September, tenor Two students of W. Peter Kurau Scott Perkins, guitarist Dieter music, ranging from solo songs to chamber opera, to Mexico’s entered the academic world in fall Hennings, and flutist Dierdre Morelia Festival and Italy’s Festival Spaziomusica.

36 Eastman Notes | Winter 2008 PHOTOGRAPH BY Richard Baker Rememberwhat’s important

ARTISTRY SCHOLARSHIP LEADERSHIP COMMUNITY Unparalleled Education

UnparalleledSupport the future of music at www.rochester.edu/annualfunds r ( )  -

AF_Ad_Eastman.indd 1 2/6/08 11:32:28 PM “Such harmony is in immortal souls” If one Eastman student performs with the Rochester Philharmonic night became the touches of sweet harmony” in this ravishing work, which Orchestra, it’s news; 16 of them at once is really news. And 16 Eastman showcased Eastman sopranos Kathryn Blomshield, Julia Cramer, Sarah voice students joined the RPO and conductor Christopher Seaman on Sensenig, and Erica Washburn; altos Katherine Hannigan, Korin Kormick, October 5 for a performance of RVW’s Serenade to Music. The unusual Katherine Maroney, and Julia Teitel; tenors Jack Beetle, Brian Burdick, work, a setting of lines from Shakespeare’s Merchant of Venice, is written Vernon DiCarlo, and Kyle Knapp; and baritones Andrew Bawden, Evan Jones, for 16 vocal soloists. To paraphrase the Bard a bit, “Soft stillness and the Jonathan Michie, and Colin Porter.

NON-PROFIT ORGANIZATION U.S. POSTAGE PAID 26 Gibbs Street PERMIT NO. 780 Rochester, NY 14604-2599 ROCHESTER, NY