EASTMAN

NOTESSpring 2014

“Making Music Matter” DOUGLAS LOWRY 1951 – 2013 Creating MUSIC in Her Own Way

On the ship from her native Germany to her new home, whenever her mother was looking for Dietlinde Payne she knew she would find her intently watching the accordion player perform. And when Dietlinde settled in Rochester as a teenager, one of her passions quickly became taking the bus to watch Eastman students perform. After retiring from a teaching career, she decided to giveback to the University through a George Eastman Circle Scholarship that supports the students who bring her so much joy. “I’d like to see them become musicians or maybe even music teachers, combining two of the things that are so important.”

—Dietlinde Payne ’64 Retired Teacher Rochester, New York

Supports: Eastman School of Music

To learn more about the new George Eastman Members of the George Eastman Circle, the University of Rochester’s leadership annual giving Circle Scholarship program, please visit society, can establish scholarships to help students in www.GeorgeEastmanCircle.com/Scholarships the schools they care about most by committing at least $5,000 annually for a minimum of five years. To learn more about joining, call (800) 598-1330 or visit www.GeorgeEastmanCircle.com. Your gift can help create the next generation of All gifts count toward The Meliora Challenge, a University-wide musicians or teachers—or both—who will inspire us all. fundraising Campaign that was launched in October 2011 and runs through June 30, 2016. Visit campaign.rochester.edu. { Spring 2014 }

At the end of Eastman’s memorial tribute for Douglas Lowry on November 3, Neil Varon and the Eastman Philharmonia performed Lowry’s Geo (inspired by George Eastman) while a collage of photographs was shown on a screen above the stage.

2 From the Dean 3 Brief Notes 26 School News 18 22 Dialogues Helping 29 A Man Who Made Recordings 10 on an Women 31 Music Matter Operatic Find Alumni Notes Eastman celebrates the achievements Masterpiece a Voice 33–34 of Dean Douglas Lowry—and holds to Eastman Opera Theatre Eastman’s Women Tributes, his dreams for its future. prepares Poulenc’s in Music Festival In Memoriam Dialogues of the celebrates ten years 35 Carmelites. of discoveries. Faculty Notes 36 Student Notes ON THE COVER: Douglas Lowry, September 2007. PHOTOGRAPH BY KURT BROWNELL

ADAM FENSTER Spring 2014 | Eastman Notes 1 { FROM THE DEAN }

EASTMAN The Healing Art NOTES Having entered the spring semester with optimism and in Shortly after Dean Lowry’s passing, the Eastman Volume 32, Number 1 anticipation of many exciting events, we also remember Philharmonia dedicated its performance of Mahler’s Spring 2014 the fall semester with mixed emotions. Due to the loss “Resurrection” Symphony to his memory. During and of three treasured members of our community, the fall after this remarkable performance, it seemed as if those Editor was simultaneously difficult yet rewarding, filled with in attendance gained some indescribable insight and David Raymond sadness yet life affirming. appreciation for the impact each individual’s life has on In August, staff pianist Gerald Lee passed away follow- countless others. A different kind of understanding was Contributing Writers Mark Berry ing more than 30 years of devoted service to Eastman’s gained as part of a Memorial Celebration for Doug that David Raymond voice and opera department as an accompanist and vocal was held on November 3. The moving tributes offered Helene Snihur coach. Jerry assisted and encouraged several generations by Doug’s close friends, colleagues, and three children Contributing of voice students, who remem- gave us insights into his many Photographers ber him with great respect and passions. But it was the music Kurt Brownell affection. composed by Doug himself that Adam Fenster In late September, Douglas enabled us to truly appreciate Gelfand-Piper Photography Lowry, the Joan and Martin this man’s voice and artistry. Kate Melton Messinger Dean of the Eastman And in a candlelight vigil Nadine Sherman School of Music resigned and held in December in memory Brandon Vick passed away one week later of Tatiana Tchekina, we were Photography following a valiant battle with moved to the very core of our Coordinator multiple myeloma. His death had beings by the deep love and devo- Karen Ver Steeg a seismic impact on our school, on tion expressed by the students Design our university, and throughout with whom she worked. The Steve Boerner the international music world, vigil concluded with a record- Typography due to Doug’s contributions as ing of Tatiana and her beloved & Design, Inc. an articulate spokesperson about husband, violinist Oleh Krysa, the role of music in society, his that left us speechless. I cannot moving musical compositions, imagine any other form of art or and the genuineness of his per- means of communication that sonal interactions with everyone could have had so powerful an with whom he worked. impact. Published twice a In early December, pianist Tatiana Tchekina lost her We live in a world where we are seemingly bombarded year by the Office life in a terrible automobile accident. Tatiana’s students daily by news that divides us—stories of violence in our of Communications have spoken movingly about her nurturing spirit, dedica- cities and wars throughout the world, of poverty, need, (Mark Berry, Executive tion to each of them as individuals, and her commitment and economic despair. Music, on the other hand, unites Director), Eastman to the integrity of the music they performed together. us—healing our spirits, nurturing our souls, and build- School of Music, 26 Gibbs Street, Rochester, Throughout the course of these heart-rending events, ing our communities. The value of music resides in its NY 14604, (585) I was reminded yet again of the profound power of music. celebration of life itself. 274-1050. The Eastman community, which is already one of the We remember our dear friends and colleagues lost, as Eastman-Notes@ special hallmarks of our school, united in a manner that we move forward in advancing Eastman’s mission of pre- esm.rochester.edu made me grateful and proud to be a member of such a paring our students to enrich the world through music. remarkable group of people. As everyone came together in support of one another and of the families of those who Jamal J. Rossi, Dean passed away, I was struck by the invaluable role music played in beginning the healing process for us all.

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2 Eastman Notes | Spring 2014 { BRIEF NOTES }

Kathryn Lewek in The Magic Flute; Erin Morley (on left, with Alice Coote) in Der Rosenkavalier; Kathryn with Dean Jamal Rossi on January 4.

is already an old hand at “thoroughly confident and partner with Rochester ways for performers and Alumni the role, performing it in rounded portrayal of the Institute of Technology, audiences to interact with Conquer Bregenz, at Covent Garden, girl who is innocent but Microsoft Studios, and the live music through digital and at the Washington Na- strong-willed and morally Rochester Philharmonic technology. Last fall, Sound the Met tional Opera before coming incorruptible.” Youth Orchestra in Sound ExChange also gave a con- If you heard the Metropoli- to the Met. ExChange Interactive cert in an unusual venue, tan Opera’s January 4 Sat- Katie wasn’t the only Scores of Scores Classical Visions Project, Rush Rhees Library on the urday afternoon broadcast Eastman soprano with a A grant from the National which will create new River Campus. of Mozart’s Magic Flute, splashy Met performance Endowment for the you heard an Eastman this fall. Erin Morley Humanities enabled alumna in her Met debut. (BM ’02), understudy to Sibley Music Library to Soprano Kathryn Lewek Mojca Erdmann, went on digitize 20,000 public (BM ’06, MM ’08) took the as Sophie in the opulent domain music scores, stage for the first time, dis- production of Richard which can be downloaded patching the Queen of the Strauss’s Der Rosenkavalier free from the University Night’s two killer arias (in in November. The New of Rochester’s Digital a killer costume, designed York Times praised Erin’s Repository, UR Research. by Julie Taymor). Kathryn “limpid, fluid soprano” and Now for the next step: Eastman Scores Publishing, offering performer-friendly, print-on-demand copies of more than 250 of those scores—mostly of chamber music—with many more on the way. Information is available on the Sibley Library website.

Classical Collisions Eastman student ensem- ble Sound ExChange was recently awarded a $100,000 grant from the Two examples of unusual American chamber music repertoire Max and Marian Farash SoundExChange Orchestra turned Rush Rhees into a new kind available from Eastman Scores Publishing. Charitable Foundation to of music library.

KEN HOWARD/METROPOLITAN OPERA (LEWEK); CORY WEAVER/METROPOLITAN OPERA (MORLEY); ADAM FENSTER (SOUND EXCHANGE) Spring 2014 | Eastman Notes 3 A Romantic Atmosphere Eastman Opera Theatre visited 1930s Budapest for its fall production, the Jerry Bock and Sheldon Harnick musical She Loves Me, directed by Stephen Carr. Nicely balanced between Broadway and operetta, this romantic show tells the story of feuding clerks in a fancy perfume shop who unknowingly fall in love. Cast members (pictured left to right) included Matt Moisey and Danika Felty as the lovers George and Amalia, John Leighton as delivery boy Arpad Laszlo, Rebecca Herlich, Sara Sommerer, Abby Middleton, Evan Roberts, Alexander Brickel, and EE Ming Chua as shoppers, and Kimberly Merrill and Jarrett Logan Porter as shop clerks Ilona Ritter and Ladislav Sipos. Photograph by Gelfand-Piper Photography

4 Eastman Notes | Spring 2014 Spring 2014 | Eastman Notes 5 Spirits Awake Eastman’s Craighead-Saunders Organ at Christ Church was the focal point for Spirits Within, a featured event in the 2014 Eastman-Rochester Organ Initiative (EROI) Festival and the Rochester Fringe Festival, both held in September 2013. Organist Stephen Kennedy (associate professor of organ) and artist Maria Schweppe collaborated on this impressionistic and inspirational combination of light and music, which brought some vivid modern color to the baroque organ. For more on Eastman’s participation in both Festivals, see “School News,” p. 26. Photographs by Kate Melton

6 Eastman Notes | Spring 2014 Spring 2014 | Eastman Notes 7 Water Music Last summer, Eastman Community Music School went on the road for a two-week session on the Keuka College campus. Eastman at Keuka, which ran from July 15–25, consisted of programs in voice, guitar, strings, and jazz—and was a great success, numbering 40 high school students who received top-notch instruction and had plenty of fun on the campus and on Keuka Lake. ECMS is already planning its 2014 visit to Keuka; for information visit esm.rochester.edu/summer. Photograph by Kurt Brownell

8 Eastman Notes | Spring 2014 Spring 2014 | Eastman Notes 9 10 Eastman Notes | Spring 2014 A Man Who Made Music Matter

By David Raymond

e was a multi-talented musician and a devoted family man. An intellectual polymath with a great sense of humor. An indefatigable reader, journal keeper, and poet. A deeply creative and analytical soul. A lover of Shakespeare and Seamus Haney. A gifted educator, and as dean of the Eastman School of Music, one of the Hworld’s prominent music educators. During his lifetime, Douglas Lowry was a man determined to, in a favorite phrase of his, “make music matter” to as many people as possible. When he died on October 2, 2013 after a two-year battle against multiple myeloma, he had done just that, in his own life and in the lives of many others. Douglas Lowry was born in Spokane, Washington, in 1951, and moved with his family to Pocatello, Idaho, in 1959. As he wrote in an unpublished autobi- ographical sketch, he was self-taught on the guitar and trombone, performing

Spring 2014 | Eastman Notes 11 in the high school marching band and local coffee houses. He also everywhere from New York City to Los Angeles, as well as vir- met his high-school sweetheart and future wife, Marcia Rhoads, at tual partnerships with leading music institutions in Europe and Pocatello High School. “He stood out even then,” she remembers. in China. “Serious, a little nerdy, very musical, and an amazing writer.” He founded the Center for Music Innovation and Engagement, He went on to the University of Southern California for master’s part of Eastman’s Institute for Music Leadership, as an incuba- degrees in trombone performance (1976) and orchestral conduct- tor for new forms of music presentation moving beyond the old ing (1978). After several busy years of conducting, teaching, and symphony orchestra or chamber music models. The Paul R. Judy trombone playing (which included a famed performance of the Center for Applied Research, founded in 2013 and focused on solo in Ravel’s Boléro with the Santa Monica Symphony), Lowry rehearsing and creating alternative classical music ensembles, was invited to join the USC faculty in 1989, eventually becom- reflects Douglas Lowry’s incisive appraisal of the rapidly chang- ing associate dean of the Thornton School of Music, all the while ing landscape of the music world, and his insistence that Eastman continuing as a busy working musician. In 2000, the University play a part in it. of Cincinnati College-Conservatory of Music invited him to serve Under Lowry’s leadership, Eastman also changed its look, com- as its dean and also as Thomas James Kelly Professor of Music. pleting the most extensive architectural transformation in its During his seven-year tenure in Cincinnati, he started initiatives history in December 2010. Eastman Theatre, the school’s histor- to engage the community in the arts, including master class- ic performance venue, was renovated as Kodak Hall at Eastman es and concerts with the Cincinnati Theatre, and the new Eastman East Symphony Orchestra. Wing, which contains the state- He went on to the University of of-the-art Hatch Hall as well as Southern California for master’s rehearsal and teaching spaces, was degrees in trombone performance built. (1976) and orchestral conducting Along with his academic and pro- (1978). He stayed at USC, serving fessional commitments, Douglas in various teaching and academic Lowry remained active as a conduc- leadership positions, and eventual- tor and, especially, as a composer. ly becoming associate dean of USC’s His music has been performed by Thornton School of Music, then numerous orchestras, and several of transferred to the University of his instrumental works have been Cincinnati College-Conservatory of recorded. He was especially pro- Music, where he was dean and the lific during his years in Rochester. Thomas James Kelly Professor of Music. During his seven-year Geo, commissioned and premiered by Christopher Seaman and tenure in Cincinnati, he started initiatives to engage communities the Rochester Philharmonic Orchestra, opened Kodak Hall at in the arts, including joint master classes and concerts with the Eastman Theatre in October 2009, and February 2013 saw the Cincinnati Symphony Orchestra. premieres of Freedom Zephyr, Lowry’s ode to the Underground Doug Lowry’s accomplishments at USC and in Cincinnati Railroad, by the Rochester Philharmonic, and Wind Religion by were outstanding, but he viewed his appointment to Eastman as the Eastman Wind Ensemble. Eastman voice students performed the culmination of his career. He came to Eastman in 2007 with his operetta The Polite Abductress at the Memorial Art Gallery in high hopes, many ambitions, and a profound knowledge of the the spring of 2013. musical world, inspiring and guiding many changes in a relative- “Doug Lowry cared a lot about people and how music relates to ly brief time. In the words of University of Rochester President their lives,” said Mark Scatterday (DMA ’89 and now director of Joel Seligman, “Rarely has an academic leader more completely the Eastman Wind Ensemble) in one of many tributes to Douglas achieved his aspirations.” He was named the first Joan and Martin Lowry after his death. “Whether it was faculty, staff, student, Messinger Dean in 2011 and was reappointed in May 2013. supporter, or concert patron, he always engaged directly and gen- As Eastman’s dean, Lowry quickly showed his skill at all aspects uinely. I appreciated that Doug really ‘got it’—that music should of the job: building strategic partnerships locally, nationally, and nurture the soul and alter people’s reality. Doug cherished the fact internationally; recruiting important faculty artists and scholars; that he was a leader in helping people achieve this in their lives. and raising Eastman’s profile with events and special programs I loved the man—he will be missed but never forgotten.”

12 Eastman Notes | Spring 2014 Douglas Lowry, shown in fall 2010 with two recent achievements: the rebuilt Kodak Hall at Eastman Theatre, and the score of Geo, his work for the Rochester Philharmonic Orchestra.

Opposite: Douglas Lowry as a teenage guitarist.

KURT BROWNELL Spring 2014 | Eastman Notes 13 Inspiring Us Toward Success By Jamal J. Rossi, Dean

Douglas Lowry’s passing resonated deeply throughout Eastman School of Music in 2007, and served as Clockwise from top left: the entire Eastman community—students, faculty, the first Joan and Martin Messinger Dean. He wore Doug Lowry speaking at his staff, alumni, friends, and colleagues. This was partial- the mantle of dean with ease and grace. While nev- introduction to the Eastman ly because his life ended much too prematurely, with er authoritarian in nature, he was very comfortable community in May 2007; so much yet to accomplish. More importantly, it was in the role of leader. In addition to being an effective with Renée Fleming (MM ’83) and University President Joel because of all that he had already accomplished and academic leader, Doug was a prolific composer, an Seligman; with his daughters the lives that he had enriched. accomplished conductor, a skilled performer, writer, Jennifer and Melanie, his wife The tributes that poured in following his passing poet, and gourmet cook. Marcia, and his son Timothy; made clear how proud our alumni were that Doug Having worked closely with Doug for six years, I with Eastman student Lowry was Eastman’s dean. Many individuals recount- believe his greatest gifts were his emotional intelligence Liu Liu touring a Chinese conservatory in 2010. ed a select meeting in which they were immediately and his immense interpersonal skills. Doug could relate touched by his personal charisma. Others commented to people; he could put people at ease. He was an atten- on how intellectually inspired and emotionally moved tive listener, and he had a genuine and sincere interest they had been by his writings and speeches. Doug in what others were saying. His personal warmth, quick was a keen observer of the world, with the capacity wit, keen intelligence, and caring spirit were clearly evi- to crystallize complex issues into clearly formulated dent to everyone with whom he interacted. Jamal J. Rossi (DMA and contextualized concepts. As you can read in the Doug’s accomplishments as the dean of the Eastman ’87) served as Executive excerpts from his writings that accompany this article, School of Music were many, and we are a far better Associate Dean of the Doug could raise important questions about music’s school because of his contributions. His legacy will live Eastman School of Music future in society, challenge us to strive for greater on for generations of future students through those of under Douglas Lowry. achievements, and inspire us toward success. us whose lives were enriched by his presence, influ- He is now the Eastman Douglas Lowry became the sixth leader of the ence, and friendship. School of Music Dean.

14 Eastman Notes | Spring 2014 EASTMAN SCHOOL ARCHIVES; COURTESY OF MARCIA LOWRY “He knew what questions to ask” By James VanDemark

I found Doug a very simpatico person—not just as a piece with music by Adrienne Elisha in which I per- Clockwise from top left: leader, but also as a person with a unique combina- formed on stage, integrated with the dancers. When Douglas Lowry, Joel tion of confidence, humility, and humor. He was also I came to Doug with the idea, he immediately got it Seligman, and Jamal Rossi; a paragon of what a leader in the arts can be: literate, and said, “Oh, you need to talk to Jamey Leverett, to Dean Lowry at the 2008 knowledgeable in the visual arts, composer, performer, Adrienne, and so on.” He knew who to ask, and what Eastman commencement; Douglas and Marcia Lowry; conductor—a real Renaissance man. questions to ask. Ramon Ricker (DMA ’73), Doug recognized that music serves many, many pur- With his imagination and his knowledge of the arts, director of Eastman’s poses, and he knew that music’s role in contemporary Doug had a strikingly informed notion of how music Institute for Music society is changing. He always took this in an optimis- could inspire interdisciplinary activities. He knew that Leadership, composer Maria tic sense—he was confident that the change would be the different artistic disciplines speak different, but Schneider (MM ’85), and Douglas Lowry; Dean Lowry only for the best, and he tried to inspire Eastman with complementary, languages, and he had the vision to with Lydia Li-ting Tseng (left) that sense of vision. Yes, he knew that it was important see how things could be partnered. and Karen Chia-ling Ho at for us to help our students find employment, yes, but For me, the most appealing thing about Doug was 2011 commencement. he also knew that everything in the arts needs to start that his vision and his experience went far beyond with a creative spark. 26 Gibbs Street. He had a global vision for the school Doug was instrumental in setting me up with the and for music. Not everything Doug wanted to do was Rochester City Ballet and Jamey Leverett for the realized, but it’s our responsibility to continue his world premiere of InCantation, a contemporary dance legacy, to see some of those ideas come to fruition. James VanDemark is Professor of Double Bass

ON THE WEB The Eastman School of Music website contains a tribute, “Remembering Douglas Lowry.” You can read a full biography and co-chair of Eastman’s of Lowry, view a photo gallery, and read tributes from Eastman colleagues, students, alumni, and friends, and you can offer your own Department of Strings, words of tribute and remembrance. Harp, and Guitar.

EASTMAN SCHOOL ARCHIVES; COURTESY OF MARCIA LOWRY Spring 2014 | Eastman Notes 15 I am honored to be Eastman’s sixth dean, and equally excited about getting to know the Eastman family. This is a culture bound by exemplary and adventuresome 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. — “Making Music Matter,” Eastman Notes, Winter 2008

“Something meaningful, something communal” SELECTIONS FROM SPEECHES AND WRITINGS BY DOUGLAS LOWRY

During his six years as I believe that reports of the demise of serious music have developed over the last few years. These are peo- dean of The Eastman are exaggerated. But we must create new engagement ple with whom you have laughed, cried, became strong School of Music, Douglas possibilities for music with those legions of intelli- friends, and shared perhaps one of the most personal Lowry gave many gent, curious, informed people that are missing out, experiences ever invented: you’ve made music togeth- speeches and addresses, or going elsewhere for their aesthetic inspiration. We er. Because music is such a powerful conduit through and wrote numerous must figure out a way to captivate them in a way that is which to create an authentic communal bond. articles and letters. All steeped in the fundamental essence of great music, yet — From Dean Lowry’s commencement address, May 2012 display proof of Lowry’s urgently means something for future generations. engagement in what he — From Dean Lowry’s first convocation address, Schools of music have complicated missions but one called “the robust theatre September 2007 simple purpose: to educate talented young perform- of ideas, the mosh pit of ers, scholars, composers, and teachers in the critical the human condition” The spirit of collaboration will be central to the sur- functions of their chosen professions. We have a and his conviction that vival and splendor of music’s next great era, as music responsibility to furnish experiences that not only it was Eastman’s role to tumbles about in the combustion chamber of the real teach the art, but also bear some resemblance to the “make music matter.” world, the robust theatre of ideas; not just musical ideas world that our students will inherit. This includes pre- His writing displayed a inspired by somebody else’s musical ideas, but the mosh paring them in the musical rudiments and the real-life wide-ranging intellect, pit of literature, visual art, drama; of the sciences, of challenge of inspiring and building an audience, know- a fluent way with words, social friction, of politics; in short, in the mosh pit of the ing important aspects of the business, and becoming and a remarkable range human condition—the human condition with which entrepreneurs . . . of artistic and scientific you must and will engage. Trust me, it needs you. . . . The attentive musician listens to the pulse of the references. Although we as musicians want community, some of times–not to curry favor with current stylistic trends, us have lost the notion of what it takes to create one, but to form an understanding of how music’s presen- or have felt mistakenly that just generating an audi- tation and enjoyment have evolved. To assume that ence constitutes creating a community. But that is the musical experience of 1813–how it looked, felt, such a dim view of the audience. It diminishes their dressed; where it took place–would and should remain purpose to simply a bunch of people gathered to pay us the same in 2013 ignores some basic laws of nature. attention; it is not enough. The audience is our com- — From “Special Effects,” Eastman Notes, munity, like the community many of you graduates Fall–Winter 2013

16 Eastman Notes | Spring 2014 Writ large on our façade, George Eastman’s muse “I feel like I am walking onto looks over us: For the enrichment of community a grand movie set, a musical life. We are the alchemists who must convert music one”: Dean Lowry on the into something meaningful, something communal. staircase of the Wolk Atrium of I would argue that if we keep connected to the soul of the School’s East Wing, 2010 civilization, the audience will take care of itself. — From Dean Lowry’s inaugural address, October 2007

To be sure, walking into the minefield of human paradoxes requires a good dose of courage, and perhaps a hint of giving up something of the context within which we’ve been trained . . . Yet the process is liberating, that process of yielding a bit of your own self-importance. Maybe a lot. — From Dean Lowry’s first commencement address, May 2008

There is something going on at Eastman, a restless curiosity and venturing forth. Our hallowed traditions are not ignored, but are in fact fortified. And alongside those traditions emerge not just “new music,” but combinations of music with other art forms. Such convergences do not occur in an environment that sees music as having already done its work . . . We wish to move music forward by tweaking its movements, freshening its possibilities, discovering new angles of old repertoire we had perhaps not considered. When I come into the main hall at Eastman, I feel like I am walking onto a grand movie set, a musical one. And all around are bridges under construction. The endless spirit of innovation . . . at Eastman. — “Building Bridges,” Eastman Notes, Spring 2013

I think it would be great to hand every man, woman, and child a clarinet or bassoon or trombone, and have them play in an organized ensemble, in order to save classical music. But genuine, authentic music is more than that. For our students, the experiences availed to you at the Eastman School of Music will be as important as those gleaned from your families, your peers, your teachers, and yes, people out there who do not speak or play your language. But most of all, you and your unique history present a spectacularly rich digging ground. That’s what we mean here at Eastman when we say that we’re making music matter. In finding our musical voice we discover our ancestral musical undercurrent. But we must also, to become authentic, mesh with the diverse human elements that enrich our collective voice. Somewhere in there, we’ll be able to say we discovered our own musical mythology. — “Discovering our Musical Mythology,” convocation address, September 2009

ADAM FENSTER Spring 2014 | Eastman Notes 17 Dialogues ‘Carmeliteson ’ Eastman Opera Theatre is hoping to inspire audiences with its spring production of Francis Poulenc’s masterpiece

By David Raymond

do not think I have ever done anything as good,” Francis Poulenc said after completing his opera Dialogues of the Carmelites. Benton Hess, music director of this spring’s ‘ Eastman Opera Theatre production, agrees: “Musically Poulenc was 110% inspired here. The subject suits him so beautifully well. It doesn’t get any better than this opera.” Poulenc’s Dialogues of the Carmelites made a powerful impression at its 1957 premiere and has remained one of the most frequently produced 20th-century operas. As members of the artistic team pre- Rochester’s Christ Church paring Eastman’s spring production agree, was an unusual but highly it also offers students, and audiences, a remarkable appropriate setting for Eastman Opera Theatre’s musical and dramatic experience. 2004 production of Dialogues IFor the libretto of Dialogues of the Carmelites, of the Carmelites, directed by Poulenc adapted a play by the French Catholic Steven Daigle. writer Georges Bernanos, based on the novel Last to the Scaffold by Gertrud von le Fort. Both novel and play explore the mysteries of faith and martyrdom, and the notion that “We do not die for ourselves alone, but for each other,” through the story of Blanche de la Force, a timid young woman

18 Eastman Notes | Spring 2014 EASTMAN SCHOOL ARCHIVES Spring 2014 | Eastman Notes 19 in late 18th-century France who becomes a Carmelite Assistant Professor Stephen Carr, who will be staging nun , in hopes of escaping her overwhelming fear of death. the production. “I first heard the final scene in a music When the French Revolution begins and the Reign of class at school, and I still remember sitting at my desk Terror is in full sway, the nuns are arrested and the con- with my jaw hanging open. I’ve always wanted to direct vent disbanded. Blanche runs away, but just before the it.” At the time of our interview he admitted he was just execution she returns, joining her Carmelite sisters in beginning the process and was, as he put it, “buried in confronting death with courage and grace. the research.” The character of Blanche de la Force is fictional, but le There’s a lot of research to do. Blanche de la Force Fort and Bernanos drew on the historical record for inspi- is Bernanos’ invention, but the other characters real- ration. In 1794, at the height of the French Revolution, a ly existed (the nuns are buried together in Paris), so “there is a lot of source material to plow through,” says Carr. “My goal is to help the students find out who these wom- en really were, and to feel as connected as possible to the real-life characters they’re bringing back to life on stage.” Updating an opera’s setting is a common practice in modern opera production, but Carr will respect the late 18th-century setting. “Sometimes a story is so profound and universal that it doesn’t need to be told in another time period in order for an audience to appre- ciate its timelessness.” Benton Hess has conducted five pro- ductions of Dialogues of the Carmelites, convent of Carmelite nuns in the town of Compiègne was including its Israeli premiere, which took place In Tel arrested as enemies of the new, religion-free state. They Aviv in 1995. That was a problematic production, he took a vow of martyrdom and were quickly executed as recalls: “All the nuns were played by Israeli singers, and traitors. Their deaths occurred just a few days before the of course this opera is very Catholic. During rehears- end of the Reign of Terror. als, while they were working on their individual scenes, it seemed that the singers just didn’t understand the n the 1950s Poulenc was held by many critics to be opera. Then we did the dress rehearsal and they finally simply a composer of frivolous, melodious music. saw the whole thing. By the final ensemble they were so He certainly started out that way in the 1920s as a overcome, they couldn’t sing. member of les Six, composing ballet scores, light- “At the first performance, we came to the final chord hearted songs, and salon-like piano pieces. After and . . . nothing, total silence. Except I soon found out Ithe shock of a friend’s violent death in the 1930s Poulenc it wasn’t silence. I gradually heard people behind me returned to his Roman Catholic faith, and his large cata- sobbing, overcome with emotion. Every single member logue of compositions eventually included many pieces of that Israeli cast and audience knew what it was like to with religious texts: a Mass, a Stabat Mater, a Gloria, die for a cause—they lived it every day.” (He adds that this motets, and his most ambitious work, Dialogues of the Israeli premiere took place near the original Carmelite Left: Francis Poulenc Carmelites. convent, in Haifa.) takes a bow at the trium- But as Benton Hess points out, even when setting the An additional part of the opera’s appeal, Hess thinks, is phant Paris premiere of most serious or spiritual texts, Poulenc never complete- that “Poulenc shows us how good these people are. There his opera in May 1957. ly changed his musical style. “He was a chameleon. A is nothing subversive about these 16 nuns at all; they just single piece of his will contain bar music and church want to remain in their convent and their life of prayer.” Above: Another scene from the 2004 Eastman music, sacred and profane.” Dialogues of the Carmelites production. Stephen has lively, sensuous moments, including a breathtaking rofessor of Voice Katherine Ciesinski has Carr has a much setting for women’s voices of the Ave Maria. But Poulenc played Mother Marie in Dialogues of the different concept for his also responded to the drama of the story. The conclusion Carmelites with Houston Grand Opera, and upcoming production: of the opera, in which the nuns march to the guillotine more recently with Hawaii Opera Theatre. For clean lines, a very simple set dominated by two while singing “Salve Regina,” is devastating. PCiesinski, the opera is about “the debilitating staircases and a cross, “For me, Dialogues of the Carmelites in many ways effect of fear, and how it shapes us. What does it take to and a black-and-white stands apart from the rest of the operatic canon,” says give us the courage to live or to die?” color palette.

20 Eastman Notes | Spring 2014 PARIS MATCH VIA GETTY IMAGES She concurs with Hess about the emotional investment ends the first act of the opera) with Arizona Opera. She EASTMAN OPERA THEATRE in performing this opera. “When you perform in it, you sees the characters as “courageous during a time when presents Francis Poulenc’s Dialogues of the Carmelites are emotionally so gripped that there are times when nothing makes sense, and realizing that sometimes God April 1, 2, 3, 4 in Kodak Hall. you can’t speak.” doesn’t make sense to us. The opera is also about a young “What makes it a compelling piece,” says Ciesinski, “is woman’s journey from doubt to commitment, and her its extreme contrasts between light and darkness, like a changes of heart. Young people experience the very same lighthouse flashing, stark on, stark off.” Continuing the things in their lives.” lighthouse metaphor, she says, “The nuns attempt to be As a teacher, she sees rehearsing and performing a beacon in bleak and dark times—a spiritual community Dialogues of the Carmelites as “the opportunity to work hooked into divine inspiration during a time that wants together to create an ensemble. Young people now don’t to eradicate it.” always see the value of that; they’re the text generation, Associate Professor of Voice Kathryn Cowdrick has and we don’t really ‘dialogue’ any more. But it is an amaz- played two roles in the opera with Arizona Opera: Mother ing experience, one whose importance you don’t really Marie and the dying Prioress (whose harrowing death realize fully until you’re done.”

EASTMAN SCHOOL ARCHIVES Spring 2014 | Eastman Notes 21 Helping Women Find a

Women in Music Festival celebrates a decade of discovery “We want to focus on the accomplishments of women The festival takes place each March, as part of in music, rather than the problems facing women in Women’s History Month; this year it runs the week the world of music,” Sylvie Beaudette said in 2005, the of March 24 through 29. The 2014 guest composer is year of Eastman’s first Women in Music Festival. “We Jennifer Higdon, who won a Grammy in 2009 and the want to create such a positive and inspiring event that Pulitzer Prize in 2010, and as always, the festival pro- people will want to join in.” grams include music from Medieval and Renaissance She succeeded. Eastman’s Women in Music Festival to jazz. started modestly in March 2005 as an outgrowth of a Beaudette is sure that students’ exposure to women Music Leadership class led in fall 2004 by Beaudette, musicians operating at a high professional level will an assistant professor of accompanying. Beginning as reverberate far into the future. “It is already more a weeklong series of five midday concerts in the Main common to see a piece by a female composer on a Hall, the festival became an annual event. student recital at Eastman,” she says. “Alumni who Now the festival fields an average of 150 enthusiastic have taken part in the festival teach and perform music male and female performers per year, presenting rare, by women all over the world. I hope our legacy is in rediscovered, and brand-new music by an average of making students aware of the variety of music offered 35 composers. Composers-in-residence have includ- by women composers.” ed some very prominent names (see p. 25) and the Festival has encouraged younger women composers For a history of the Women in Music Festival visit as well, including Eastman students. esm.rochester.edu/wmf/

Soprano Eileen Strempel (BM ’88) has returned to Eastman to perform in several Women in Music Festivals, and performs frequently in recital with pianist and festival director Sylvie Beaudette.

22 Eastman Notes | Spring 2014 Spring 2014 | Eastman Notes 23 Scenes from a festival: a Main Hall noontime concert, 2007; singers perform music of Hildegard of Bingen, 2007; the premiere of Hilary Tann’s Exultet Terra conducted by Lee Wright, 2011.

24 Eastman Notes | Spring 2014 Tania Léon Nancy Van de Vate Judith Lang Zaimont Hilary Tann

Lorraine Desmarais Emma Lou Diemer Melinda Wagner The Women in Music Festival has invited several prominent composers as guests over the years. These distinguished composers not only provided fine music, but also displayed their knowledge and expertise in master classes, lectures, radio interviews, and visits to Rochester city schools.

In 2006, Tania Leon arrived as the first composer-in- 2011 Women in Music residence, along with poet and novelist Margaret Atwood, also went on the road, for a week highlighted by the premiere of Leon’s Atwood performing concerts at Songs. Union College and City In 2008 Nancy Van de Vate (’52) heard the premiere University of New York. of her chamber work A Long Road Traveled and scenes Canadian jazz pianist from her All Quiet on the Western Front performed by Lorraine Desmarais, who Eastman Opera Theatre. writes music in classical 2009 brought Judith Lang Zaimont for the premiere and jazz idioms, per- of her choral work Housewife, as well as performances formed with the New of several of her chamber works. Jazz Ensemble in 2012 Jennifer Higdon Emma Lou Diemer (MM ’49, PhD ’60) visited her alma and also heard a perfor- mater in 2010, for a visit that included the premiere of mance of her Sonatine for flute. her Variations on a Theme of Howard Hanson and per- Last year brought Pulitzer Prize-winning compos- formances of her choral music that included local church er Melinda Wagner, who heard the work that won her choirs. Pulitzer, her Flute Concerto, performed by Bonita Boyd Welsh-born composer Hilary Tann was the guest for the and the Rochester Women’s Philharmonic. 2011 festival, which included the premiere of her choral The 2014 Women in Music Festival, occurring March 24 work Exultet Terra and a performance of Shakkei with through 29, features another Pulitzer winner and one of Associate Professor of Saxophone Chein-Kwan Lin. In America’s most-performed composers, Jennifer Higdon.

EASTMAN SCHOOL ARCHIVES Spring 2014 | Eastman Notes 25 { SCHOOL NEWS }

Organ graduate student Thomas Gaynor performing EROI Festival 2013: The Gospel Truth one of William Bolcom’s Gospel Preludes, with Jacob Our annual EROI (Eastman Rochester Organ Initiative) 60 years of music, Jon Gillock in a Messiaen recital, Fuhrman turning the pages. Festivals usually look into music of the past: Buxtehude, Hans-Ola Ericsson, and Pulitzer Prize-winner William J.S. Bach, and Mendelssohn have been the focus of a Bolcom, who has written some of the most distinctive few past EROI Festivals. Last fall, EROI moved into the American works for organ, who 20th and 21st centuries with Spectrum of Sound: Aspects gave a paper titled “Confessions ON THE WEB: For full of Organ Music Since 1940, an exploration of the new of a Non-Organist” and led a mas- details of the EROI At William Bolcom’s approaches and sounds of composers as different as ter class on his Gospel Preludes. festival’s offerings go to esm.rochester. organ master class: Gyorgy Ligeti and John Cage, Olivier Messiaen and An Eastman student, Malcolm Brian Schoettler, Bryan edu/organ/eroi/ Holten, Jacob Fuhrman, Anton Heiller. Matthews, won first prize in the Bolcom, Thomas Gaynor, EROI’s guests included composer/organist Martin Westfield International Organ Competition, presented and Alexander Whitaker Herchenröder, who performed a recital covering during the EROI Festival in Rochester and also at Cornell University. The prize includes a $10,000 cash award, a recording with Loft Records, and concerts in America and Europe. Two Million-Dollar Scholarship Gifts Late last year, Eastman received two separate mil- lion-dollar scholarship gifts. The school was delighted when an anonymous couple, who are generous arts philanthropists, contributed $1 million to establish a new endowed scholarship for keyboard students, with a preference for organ majors. The gift was made in recog- nition of Eastman’s longstanding tradition of excellence, and the outstanding contributions its faculty, alumni, and students have made to the music world in general and to the art of the pipe organ in particular.

26 Eastman Notes | Spring 2014 KATE MELTON { SCHOOL NEWS }

Eastman was also honored to receive over $1.1 million Making a hit at PASIC, left to to establish the Catherine A. Murphy and Carl E. Amt right: juniors and Percussion Endowed Fund to support scholarships. Dr. Murphy Ensemble members Sean graduated with a master’s degree from Eastman in 1945, Lowery, Sarah Persichetti, and she established this scholarship fund to honor her Emily Park, Jarryd Elias, and Sam Um. brother Carl, who graduated in 1937. Eastman conquers PASIC Eastman percussionists played an important part of the 2013 Percussive Arts Society International Conference, held last November in Indianapolis. Featured ensemble was the Eastman Percussion Ensemble, led by Professor Michael Burritt, performing a dazzling program of con- temporary music including two world premieres. This was the Percussion Ensemble’s first performance at PASIC. And PASIC’s lifetime achievement award was given to Ruth Cahn (BM ’68), a longtime member of the Rochester Philharmonic Orchestra and the Eastman Community Music School faculty (see “Faculty News,” p. 35, for more information). Left: Zvi Zeitlin returned to Kilbourn Hall last October in A Farewell to Zvi a video of the great violinist’s master classes at California’s An October 13 event in Kilbourn Hall celebrated the life Music Academy of the West, and work of Zvi Zeitlin at Eastman. Zeitlin, who died taken by MAW Director in 2012 at the age of 90, started teaching at Eastman in Robert Weinman.

KEN PORTER (PASIC); STEVE PIPER (ZEITLIN) Spring 2014 | Eastman Notes 27 { SCHOOL NEWS }

Upcoming Notable Events

Itzhak Perlman February 22, 2014 Violinist Itzhak Perlman plays Bruch’s G Minor Concerto with Eastman Philharmonia and Neil Varon March 19, 2014 From the Top—taping Eastman’s Class of 2017, 154 strong, arrived on campus the week of August of the NPR series 1966 and continued to teach and con- 28, and immediately entered a round of academic and social activities, in Kodak Hall with certize widely (including an annual led for the last time this year by Linda Muise, who retired this year after Christopher O’Riley 32 years as Assistant Dean for Residential Life. Linda is shown here on recital in Kilbourn Hall) until shortly and guests Sir James Freshman Move-In Day with Resident Assistants Mary Baron and Alexa and Lady Jeanne before his death. Friends, family, and Tarantino. This year‘s Freshman Week was documented on film; see it on Galway fellow musicians (including Eastman Eastman’s YouTube channel. • www.fromthetop.org professors Charles Castleman, Mikhail April 3–6, 2014 Kopelman, and Anna Gourfinkel) gathered to celebrate academic programs that will ensure Eastman’s position Eastman Opera The- the memory of the violinist and teacher, but the most as a leader in music education by building on its tradition- atre—Francis Poulenc: welcome guest at the party was Zeitlin himself, shown al core values of exemplary musicianship, scholarship, Dialogues of the in video of a master class at the Music Academy of the and pedagogy. Carmelites (see p. 18) West, where he taught each summer since 1973. Throughout the current academic year, Eastman fac- May 17, 2014 ulty will be considering potential new degree programs University-wide Doctor- that encompass contemporary music composition, col- al Commencement Eastman’s Next Strategic (PhD/DMA) laborative arts, convergent media, leadership, and online Plan Presented learning. Although the new strategic plan broadens May 18, 2014 Eastman Graduate In October 2013, the Eastman School of Music pre- Eastman’s curricular scope to help prepare our stu- and Undergraduate sented its 2013–18 strategic plan to the University of dents for an ever-evolving music world, the dedication Commencement Rochester Board of Trustees. While Eastman’s previous to educating young musicians at the highest possible (BM/MA/MM) plan addressed critical physical needs and prioritized level remains constant. The Eastman commitment to June 20–28, 2014 strategic investments in special projects, this new blue- excellence that runs through our history will remain the Xerox Rochester print for the future focuses on developing innovative new hallmark of our future. International Jazz Festival • www.rochesterjazz. SAVE THE DATE! com Eastman Weekend: October 17–19, 2014 July–August 2014 Summer@Eastman 2014 This exciting weekend of special programming for update your information in one of two ways: • summer.esm. all alumni, parents, and friends will provide unique • Use the Rochester Alumni Exchange: rochester.edu opportunities for alumni to reconnect with fellow alumniconnections.com/olc/pub/UROE/ classmates and our parent community to come togeth- • Or send your information er with their families. to [email protected] If you have recently moved, please update your We look forward to seeing you in the fall. address information so that we can share the latest news with you about Eastman Weekend 2014. You can ON THE WEB: www.esm.rochester.edu/eastmanweekend

28 Eastman Notes | Spring 2014 NADINE SHERMAN { RECORDINGS }

1 2 3 4 5

6 7 8 9 q

THOMAS MEGLIORANZA intelligent program build- FEINER MUSICKE from songs by Berlioz and Alan Weinstein (MM ’86). 1 Schubert: ing,” wrote Tom Moore in 5 Now Sleeps Duparc, through arias from The unusual program for Winterreise, D. 911 Early Music America. the Crimson Petal operas by Smetana, Dvořák, this CD includes John meglioranza.com and John Corigliano, to the D’earth’s Natural Bridge NEW ENERGY JAZZ Tenor Mel Foster (BM Irish song “O Danny Boy.” and Silent Faustus and Tom (MM ’95) performs ORCHESTRA ’89) and his wife, harpist A highlight is the “Flower Gunther Schuller’s 1984 Schubert’s great valedic- 3 Celestial Boogie Ellen Heinicke Foster (BM Duet” from Delibes’ Lakmé, piano quartet On Light tory cycle with pianist ’89) have joined forces with Renée joined by mezzo Wings (with guest violist Reiko Uchida. “It’s a This CD of arrangements in life and in music; their Susan Graham. Roger Chase). piece I worked on quite and originals features a company Feiner Musicke is a bit during my days at number of Eastman grad- dedicated to the publication CLAUDIA QUINTET KURT WEILL Eastman,” says Tom, “with uates, including trumpeter and performance of music 8 September q One Touch of Venus my teacher Carol Webber, and composer Jonathan for voice and harp. This CD Cuneiform Rune 377 Jay 21362 in Dr. Jean Barr’s accom- Kruger (MM ’82, DMA includes famous songs by panying classes, and in a ’84), who contributes Caccini, Mozart, Schubert, The New York Times Weill’s 1943 Broadway hit, Schubert lieder class taught “Quarter-Mile Blues,” and Stephen Foster, and praised the latest album which includes the classic by Steve Laitz.” BBC Music composer Carl Atkins Debussy, among others. by composer, drummer, song “Speak Low,” receives Magazine called this “a me- (DMA ’82), who founded and four-time Grammy its first full recording on ticulously thought-through the group as Sheer Energy WEBB WIGGINS nominee John Hollenbeck this two-CD set. The cast account of Winterreise.” in the 1980s, with the 6 Variazioni (BM ’90, MM ’91) and his includes Melissa Errico as title track and several FoM 2013 longtime fellow quintet Venus, Tony Award winners CHRISTOPHER WILKE other pieces. Smithsonianfom.org members as “inspired . . . Judy Kaye and Victoria 2 Graceful Degradation: It’s a crew ready for any Clark, and several Eastman The Last Lute Sonatas COLOSSUS On this CD, Webb (MM kind of chamber-esque or alumni in the ensemble, Christopherwilke.com 4 Colossus ’68) plays two 17th-century open-ended maneuvers he including Analisa Leaming colossusjazz.bandcamp.com Italian harpsichords from prescribes.” Each of the 10 (BM ’07) and Michael Christopher (DMA ’11) per- the Smithsonian collec- pieces composed by John McKinsey (BA ’01, BM ’02). forms rare solo works from This 17-piece jazz orchestra, tion in 16th and 17th for the album bears a date the early Classical period, created in 2012, consists century keyboard works indicating its inception or GARTH SIMMONS including first recordings of current and former by Frescobaldi, Storace, its completion. AND MICHAEL BOYD of pieces by Haydn and his Eastman students, co-led Cabezón, Merula, and w American Visions contemporaries. Graceful by Dave Chisholm (DMA Luzzaschi. KANDINSKY TRIO Garthsimmons.com Degradation was featured ’13), Mike Conrad (MM ’13), 9 On Light Wings on NPR’s Sunday Baroque and current student Levi RENÉE FLEMING OmniTone 15219 Trombonist Garth (MM and Classical Guitar Alive, Saelua. Their compositions 7 Guilty Pleasures ’93) and pianist Michael and was the fourth most and arrangements make Decca 4785107 This piano trio has been in (MM ’85, DMA ’93) recently downloaded early music up this debut album, the business for 25 years released this disc of three album on Amazon.com in culminating in Dave’s Renée (MM ’83) offers a and includes two Eastman landmark sonatas in June 2013. “Would that arrangement of the hymn collection of 17 pieces she alumni: pianist Elizabeth the American trombone all CDs combined such “Come Thou Fount of Every enjoys singing but has Bachelder (BM ’69, MM repertoire: sonatas by fine playing with such Blessing.” never recorded, ranging ’70, DMA ’81) and cellist Robert L. Sanders, George

Spring 2014 | Eastman Notes 29 { RECORDINGS }

Eastman at the 2014 Grammys Kent Knappenberger (MM ’89) received the first annual Grammy Music Educator Award. The 2014 Grammy Awards were scheduled for January 26, just as w e r t we went to print, but several Eastman alumni were nominated: Dave Slonaker’s Intrada (see this page) was nom- inated for Best Large Jazz Ensemble Album. Scott Healy (BM ’82), Best Instrumental Composition for “Koko u i o on the Boulevard” from y Hudson City Suite

John Hollenbeck (BM Frederick McKay (BM ’23), the piano concerto whose the inspiration and motiva- Czach (BM ’80, MM ’82) on ’90, MA ’91), Best Instru- and Richard Monaco. Other title is borrowed for the tion for the project. piano, Assistant Professor mental Arrangement works include “Dynamo” for disc—are featured, along of Trumpet Clay Jenkins, Accompanying Vocal- solo trombone by Michael with the St. Petersburg MAX STERN Bill Reichenbach (BM ’71) ists, for “The Moon’s a Johanson (BM ’91). State Symphony Orchestra, i Perek Shirah on bass trombone and bass Harsh Mistress” from the Moravian Philharmonic Cdbaby.com/maxstern trumpet, and Brian Scanlon Songs I Like a Lot ANDRE CANNIERE Orchestra, and Professor of (BM ’81, MM ’83) and Bob Maria Schneider (MM e Coalescence Piano Barry Snyder (BM Max (BM ’69) just released Sheppard (BM ’77) on reeds. ’85), Best Contemporary Whirlwind WR 4642 ’66, MM ’68). his new disc of this work for Classical Composition, narrator and orchestra, in EMILY MITCHELL for Winter Morning Trumpeter Andre’s SCOTT WORTHINGTON which he conducts the Israel A Harp for Christmas Walks (nominated for (MM ’03) follow-up y Even the Light Philharmonic Orchestra. Albany TROY 1438 two other Grammys) to his acclaimed 2012 Itself Falls Max describes it as “a album Forward Space is Populist Records cosmic song of praises from Emily (BM ’75) is Instructor Martha Cluver (BM a collection of original Psalms, filled with stunning in Harp at Stephen F. ’03) and Eric Dudley compositions with political Scott (BM ’09) recently instrumental effects.” Austin State University in (BM ’01) are members and nostalgic themes. released his first album: this Texas. This new CD is a of Roomful of Teeth, The Guardian called 86-minute work performed ETHAN BORSHANSKY collection of arrangements nominated for Best Coalescence “exhilarating” by ensemble et cetera. The Iseline Aerial of favorite carols by Gary Chamber Music/Small and All About Jazz called it recording is only available Beatport.com Schocker. Emily’s recent Ensemble Performance. “an original concoction all digitally; go to populistre- recordings include Garden [Andre’s] own.” cords.bandcamp.com and (BM ’06), according in Harp (Azica Records), Bob Ludwig (BM ’66, Ethan look up Scott Worthington to the Beatport website, with compositions by Gary MA ’01) had five nom- Even the Light Itself. “Has found a niche for him- Schocker, played by trom- inations: as mastering ANNE ELLSWORTH BM ’87 self in the Brooklyn party bonist (BM engineer of Album of r Late Night Thoughts James Pugh circuit . . . his style of deep ’72) and the Cavani String the Year (Daft Punk’s CD Baby 8166672 IRA B. LISS BIG BAND experimental techno shines Quartet, whose members Random Access Memo- JAZZ MACHINE Anne (BM ’87) offers an through superior sound include violinist ries), Record of the Year u It’s About Time Annie album of contemporary design.” Ethan’s latest EP and cellist (Get Lucky by Daft Punk Bigbandjazzmachine.com/ Fullard Merry chamber music with includes six new electro- (both MM ’87). and Pharrell Williams), recordings Peckham horn, much of it in first acoustic tracks. Best Historical Album recordings. This new CD includes Do you have music or (the Rolling Stones’s five tracks composed performances on a recent Charlie is My Darling— DAVE SLONAKER BIG BAND and arranged by or forthcoming CD? Notes Ireland 1965), and Best SYDNEY HODKINSON Chris o Intrada (BM ’81), includ- wants to know! Send promo Engineered Album t Shifting Treks Braymen Origin 82651 ing a tune Chris composed copies to Eastman Notes, (Annie Up and Random Navona 5922 with Maynard Ferguson. (MM ’80) conducts Office of Communications, Access Memories). Dave Three orchestral works Performers include Bernie this album of his ar- Eastman School of Music, For the results, check by longtime composition Dresel (BM ’83), and Ira rangements and original 26 Gibbs Street, Rochester, for an update on the professor Syd (MM ’58)— Liss credits his wife Ava compositions, performed NY 14604; or just alert us Eastman Notes app. Potpourri, Epitaphion, and (Estis) Liss (BM ’86) with by a band that includes Ed that it is available.

30 Eastman Notes | Spring 2014 { ALUMNI NOTES }

1950s The 80th birthday of Ruth Drucker (BM ’54, MM ’55) was celebrated at Towson University on March 9, 2013 with a concert performed by ten of Ruth’s former and present vocal students. Ruth retired from Towson in 1995 after 28 years of teaching; she also taught at Peabody Conservatory for 25 years. The program included several songs by Ruth’s son David Drucker, a former Eastman graduate student. Attendees contributed to the Ruth and Arno Drucker (BM ’54, MM ’55) Fund for 1 Mitzie (Mary) Collins (BM ’63, MA ’05) Towson music students. Professor, and is a Higher Community Engagement Education Consultant on Award for Research. Tony, 1960s Educational Technology VCU’s director of jazz 1 Mitzie (Mary) Collins and Online Learning. studies, and his students (BM ’63, MA ’05) deliv- traveled to the University of ered a paper at the 12th Geary Larrick (MM ’70) KwaZulu-Natal in Durban, 2 Antonio García (BM ’85) congress of the World has a drum set meth- South Africa. The American Cimbalom Association od books review in the and South African musical org. On June 12, public in Taipei, Taiwan, in Summer 2013 issue of teams commissioned four radio station WDAV October 2013. The CWA National Association new works, performed presented the world is dedicated to the support of College Wind and on both continents, and broadcast premiere of and promotion of instru- Percussion Instructors recorded a joint CD, Leap of Dan’s Hail the Coming ments in the cimbalom Journal. He has published Faith. They also researched Day (A Festive Piece for family, found throughout 36 reviews and 46 articles racial and cultural divides Orchestra), performed the world. Mitzie is the in NACWPI Journal. in their respective cities, by the Winston-Salem only North American on adding historical and per- Symphony under Robert the 12-member board of On November 19, 2012, sonal depth to their music. Moody (MM ’91). this Hungarian-based Dean Witten (BM ’73) cel- Tony also performed and organization. As a faculty ebrated his 100th percus- taught in Canada and the 3 Leslie Odom Miller member of the Eastman sion ensemble concert at United States; released the (DMA ’89; MM ’89) was Community Music School, Rowan University with five CD Front Burner; produced the 2013 Outstanding Mitzie teaches western mu- of his former students. This and performed on the Music Alumna for Butler sic history and hammered all-star alumni ensemble debut vocal CD by his wife, University. During her dulcimer and directs the consisted of Matthew Mary Hermann García; and visit to Butler in September, 3 Leslie Odom Miller (DMA Striking Strings Hammered Witten (BM ’00) Andrea continued as jazz editor of Leslie taught an oboe ’89, MM ’89) Dulcimer Ensemble. Lustig-Bianchi (MM ’03), the International Trombone master class, and present- Mika Godbole, Anthony Association Journal and Bach, Grieg, Beethoven, and ed a speech to students DiBartolo, and Brittany board member of The Rachmaninoff; many of her from the Jordan College of 1970s Hoffman. The program in- Midwest Clinic. performances can be seen the Arts. She is currently Marie Morin Fetzner (BM cluded the world premiere on YouTube. Associate Professor of ’74) earned her Doctorate of of Jennifer Higdon’s Like Robert Liebman (BM ’81) Oboe and Music Theory Education degree from the Clockwork, and one of the reports that his 11-year-old The music of Dan Locklair and Graduate Coordinator University of Rochester’s first American performanc- daughter Daniela Liebman (DMA ’81) was the subject for the School of Music at Warner Graduate School es of Gerard Grisey’s Le made her New York of an American Public the University of Florida in of Education and Human Noir De L’Etoile. debut at Carnegie Hall Media Pipedreams radio Gainesville. Development in May 2012. on October 27, perform- broadcast during the week The former Assistant to the ing Shostakovich’s Piano of September 30. Susan Walter Moran (BM ’79, Vice President, Educational 1980s Concerto No. 2 with the Bates performed Dan’s MM ’81) was recently ap- Technology Services, 2 “A Jazz Bridge to Park Avenue Chamber Organ Concerto (2010) pointed Superintendent of Marie retired from Monroe Greater Understanding,” a Symphony. Daniela has with conductor Gerard Schools for the Eastchester, Community College grant project of Antonio performed widely as a recit- Schwarz, and the program New York, Union Free (MCC) in August 2012. García (BM ’85), re- alist and a concerto soloist, included six other organ School District. For the past She continues to serve as ceived the 2013 Virginia with a repertoire including works. It can be heard at 13 years, Walter served as an MCC Adjunct Assistant Commonwealth University works by Liszt, Mozart, pipedreamspublicradio. Principal of Eastchester

Spring 2014 | Eastman Notes 31 { ALUMNI NOTES }

Middle School, and before a concert with her ensemble that as a school administra- Percussia in New York City tor in the North Rockland featuring pianist James and Byram Hills School Myers (BM ’91, DMA ’11) Districts and Band Director and works by two Eastman in the Chappaqua Public alumni, Prisoners of the Schools. Image Factory by Bob Becker (BM ’69, MM ’71) 1990s and Disciples of Gouda by Marc Mellits (BM ’87). All the Days of My Life, an album by Vicente Avella Thomas Lausmann (MM (MM ’98), was honored ’98) was recently pro- by the Global Music moted to the position of Awards with an award of Studienleiter (head of the excellence as Instrumental music staff) at the Vienna Performance Solo, and State Opera, where he has awards of merit for Album worked since 2010 as a and cover art/graphics. The coach and assistant conduc- album features Vicente tor. In 2014, he will return as pianist in his original to the Bayreuth Festival for music and arrangements of a seventh summer season 4 Ingrid Gordon (BM ’92, second from left) with Percussia classical music suitable for as musical assistant to weddings. Christian Thielemann.

Flutist Linda 5 See-yin (Oliver) Lo Chatterton (BM ’90) (MM ’96, DMA ’00) is recently performed solo adjunct associate pro- recitals at London’s St. fessor at the Hong Kong Martin-in-the-Fields and University of Science and Dublin’s National Concert Technology (HKUST). His Hall, and gave a Mozart class “Music, Drama and concerto performance Theatre” recently won the with the State Hermitage inaugural Common Core Chamber Orchestra in Course Excellence Award, Moscow. Linda recently for courses which demon- concluded a nine-state con- strate the University’s cert tour with Trio Matisse efforts to enhance balanced (flute-cello-harp). and holistic education.

Betsy Fitzgerald (BM ’99) In August, Robert Moody recently left her position (MM ’91) conducted the as Executive Director of Los Angeles Philharmonic The Grand Opera House at the Hollywood Bowl in Macon, Georgia, to in a “Tchaikovsky become the Vice President Spectacular”, one of the of Leadership Giving and longest running traditions 5 See-yin (Oliver) Lo (MM ’96, DMA ’00) (second from left) Major Gifts for the United in the Bowl’s history. In Way of Central Georgia. 2014, Robert will lead including a premiere by shore and the ships . . . with the Chicago Symphony CSO resident composer clarinetist Wesley Ferreira , 4 On June 15, Ingrid Orchestra in a “Music Anna Clyne, and a Ravinia released in September 2012 Gordon (BM ’92) produced Now!” series concert, Festival concert. In March on the Centrediscs label, 2013, Robert made his recently won Canada’s East European debut with the Coast Music Award for Best Slovenian Philharmonic Classical Recording. Send your news! Orchestra, and this Do you have an announcement you’d like to share with season leads the Charlotte your fellow alumni? Send your personal and professional Symphony Orchestra, 2000s news to Notes, Office of Communications, Eastman North Carolina Opera, Pianist Sarah Chan (DMA 6 Helen Pridmore (DMA ’96) School of Music, 26 Gibbs Street, Rochester, Jacksonville Symphony, ’05) performed this season New York 14604. Louisville Orchestra, Symphony Orchestra, as soloist with the New Fax: 585-274-1089 and Arkansas Symphony and music director of the York Concert Artists E-mail: [email protected] Orchestra. Robert is Winston-Salem Symphony. Symphony and the Enid We reserve the right to edit submissions for clarity artistic director of the Symphony Orchestra. Sarah and length. The deadline for the Fall 2014 issue of Notes Arizona Musicfest, music 6 Helen Pridmore’s also presented a solo recital is May 15, 2014. director of the Portland (DMA ’96) CD between the at the Munich Kunstlerhaus

32 Eastman Notes | Spring 2014 { ALUMNI NOTES } this summer, and debuted at Merkin Concert Hall in TRIBUTES New York City in October.

David Hart (MM ’06, DMA Tatiana Tchekina ’11) and Leslie Hart (MM ’05, DMA ’11) welcomed a The Eastman community was shocked and saddened baby boy, Thomas Michael, by the death of Tatiana Tchekina, pianist and Assistant on February 22, 2013 in Professor of Accompanying, who died December 7 in Palo Alto, California. David an automobile accident. teaches instrumental music Tatiana Tchekina was born in Moscow on January 25, at The Harker School and Leslie continues to free- 1944, into a family of singers. She studied at the Moscow lance as a hornist and teach and Kiev Conservatories with Boris Zemlyansky and at Castilleja School. Vsevolod Topilin, and taught chamber music at the Kiev Conservatory and Accompanying at Gnesins Vera Ivanova (PhD ’07), Musical and Pedagogical Institute in Moscow, joining assistant professor of music at Chapman University the Eastman faculty in 2002. (Orange, California), She performed with her husband, the violinist and won the 2013 Earplay Eastman professor Oleh Krysa, throughout the world Donald Aird Composers to great acclaim, appeared at major music festivals, Competition for her Three and regularly participated in mas- Studies in Uneven Meters. Three Studies was recorded ter classes in Japan. She was an An outstanding pianist, by pianist Mikhail Korzhev official accompanist at the David a great artist, a beloved on Navona Records, and Oistrakh International Violin teacher: Tatiana Tchekina performed at the 35th Competition in 2004, and in 2008 graced the Eastman faculty since 2002. International Moscow at Qingdao International Violin Autumn Festival, Florida State University’s Biennial Competition (China). With Oleh Festival of New Music, and Krysa, she also recorded 20 CDs on the Melodiya, BIS, by the Locrian Chamber Triton, TNC, and Russian Disc labels. Players. Vera’s Aftertouch, “Professor Tchekina was a great artist,” said Eastman performed by Daniela Professor of Violin Federico Agostini. “Some of our best Mineva, was released on Navona Records; and violin students were blessed by the great privilege of Mbira, or in Cage with performing with her. She will be missed by all of us as sons Peter, violinist, and Taras, a conductor; a grand- Adams for digitally retuned a wonderful friend and as a great musician.” son, Konstantin; her brother, Alexander; and her sister piano, composed for Aron Tatiana Tchekina is survived by her husband; their Ludmila. Kallay, was just released on MicroFest Records. Vera contributed to the “CAGE Gerald Lee 100 Party Pieces Project,” premiered on October 17, Eastman was saddened to learn of the death last sum- “Almost all of my teaching responsibilities during my 2013 at Miller Theatre in mer of Gerald Lee. An Eastman staff member since first year on the faculty (1963–64) consisted of teaching New York. 1981, Jerry provided more than 30 years of service to piano students in the preparatory department. And Mariusz Kozak (MM ’03) Eastman’s voice and opera department as an accom- almost all of those students were young and playing at a was recently appointed panist and vocal coach. “Jerry always approached his rather modest level. Much to my delight, however, I had assistant professor of work with thoroughness and care, whether prepar- one student who was the exception. He and I immense- music theory at Columbia ing students for auditions or preparing a large-scale ly enjoyed that year of lessons, working on repertoire University. Last year he was Eastman Opera production,” said Voice Department by Bach, Mozart, Beethoven, Chopin, Rachmaninoff, a post-doctoral resident scholar in music theory Chair Steven Daigle. and Bartók. In 1981 my former student joined the staff at Indiana University’s Eastman School Historian and Professor of Piano here at Eastman. His name was Gerald Lee, and I note Jacobs School of Music. Vincent Lenti offered his memories of Jerry Lee: with deep sadness his recent death.” He completed his PhD in 2012 from the University of Chicago, with a disser- enjoying the challenges and child development in the cognition at Harvard, where performed in the New tation titled Moving in rewards of living in New Journal of Research in he is a doctoral student York City Fringe Festival, Time: The Role of Gesture York City. Music Education and in with Howard Gardner and playing the leading role in in Understanding the PLOS ONE, the open-access Elizabeth Spelke. Truth, an opera by Paula Temporal Organization of Samuel Mehr (BM ’10) science journal. Samuel Kimper (BM ’79) about the Music. Mariusz and his wife, recently published papers is studying developmen- Soprano Mari-Yan Abolitionist and Women’s Joanna, are thoroughly on music education and tal science and music Pringle (MM ’07) recently Suffragist Sojourner Truth.

EASTMAN SCHOOL ARCHIVES Spring 2014 | Eastman Notes 33 { ALUMNI NOTES }

7 Elizabeth Wells’ (MA 1940s ’96, PhD ’04) West Side Marilyn (Sheetz) Brown Story: Cultural Perspectives (BM ’41), September on an American Musical 2013 (Scarecrow Press) won Dorothy W. Cordwell the “Music in American (BM ’41, MM ’42), Culture” award from the July 2013 American Musicological Virginia Farmer Society. The citation for the (BM ’43), June 2013 book read in part: “In grace- Claire Heiss ful and engaging prose, (BM ’47, MM ’49), Wells argues that it wasn’t August 2013 so much collaboration that Katherine W. Lawson accounted for the work’s (BM ’45), August 2013 success but competition Charlotte Lenkowsky and compromise on the (BM ’44), August 2013 7 Elizabeth Wells (MA ’96, part of all participants, Ruth C. (Cole) Matthews PhD ’04) including its largely (MA ’49), October 2013 unknown cast. This book program was not only to Catherine (Amt) Murphy probes deeply the complex empower these men with (MM ’45), October 2013 question of hispanicism the ability to create music Bernadine M. Rosenquist (both cultural and musical), themselves, but also to (BM ’47), September 2013 the problematic place of share that music with their Donald Smith The leading lady of piano jazz: gender, the reception of community at Rikers. We (BM ’40), September 2013 Marian McPartland in the 1960s juvenile delinquency, and— performed two concerts Vivian VanZandt Wallace perhaps most skillfully—the with nearly 300 inmates in (BM ’41), September TRIBUTES rich web of musical influ- attendance. We hope to of- 2013 ences infusing the score.” fer private lessons to these 1950s men once they are released Donald W. Bechtold Marian McPartland Cellist Beiliang Zhu (all of the men we worked (BM ’57), July 2013 (BM ’09) was profiled in in will be released within The death of the remarkable Marian McPartland Ronald T. Bishop the Winter 2013 Early the year), and to create op- on August 20 deprived the jazz world of one of its (BM ’56), July 2013 Music magazine. Zhu portunities for them to play William D. Clifford great musicians, and also deprived Eastman of a dear took first prize in the together monthly.” Rhythm (BM ’55), July 2013 friend. She visited the school and performed here 2012 International Bach on Rikers was featured on Sarah Elizabeth Coss many times, picked out and encouraged outstanding Competition in Leipzig, the the front page of the Arts (BM ’58, MM ’60), July first Chinese national to Section of the New York talent among the jazz piano students, and rewarded it 2013 win this competition and Times. with the Marian McPartland jazz scholarship. In 2007 James Everett Dumm the first string player to (MM ’57), July 2013 she received an honorary doctorate from Eastman. win the top prize playing a Alexander Pena (MM Frederic I. Fisher McPartland was perhaps best known to a wide public period instrument. She re- ’13) has been appointed (MM ’53, DMA ’63), as the host of NPR’s Piano Jazz for 30 years, creating cently played gamba in the director of RocMusic, a September 2013 Philadelphia Orchestra’s Rochester music education a remarkable body of interviews and performances James S. Foglesong presentation of the St. program offering group with a completely undogmatic range of guests. (BM ’50), July 2013 Matthew Passion and in the instruction for economical- Antoinette Galetto New York recital debut of ly disadvantaged children (MM ’58, DMA ’78), the British soprano Carolyn and teenagers, providing July 2013 Jim Foglesong Sampson. She will play a tuition-free classes for six Rolf Legbandt recital at the Leipzig Bach hours each week in singing, James Foglesong (BM ’50), a record label execu- (BM ’58), August 2013 festival in June 2014. reading and writing music, tive and music producer who was a member of the Merrilynn Ann Pepos and instrumental study, (BM ’54, MM ’58), Country Music Hall of Fame, died July 2 at the age RocMusic is a partnership May 2013 of 90. After graduating from Eastman as a voice 2010s of Eastman, the Hochstein Barbara Petri major, the West Virginia native worked for Columbia Amy Garapic (MM School of Music and (BM ’55), March 2013 ’11) spent the last year Dance, the Rochester Records in New York; he moved to Nashville in 1970 Joan Templar Smith organizing and directing City School District, the to become the head of Dot Records. From 1984 to (MM ’52, PhD ’76), Rhythm on Rikers, a project City of Rochester, and the October 2013 1989 he headed Capitol Records’ Nashville divi- through Make Music New Rochester Philharmonic sion, launching the career of Garth Brooks, country York, partnering with New Orchestra. 1960s music’s best-selling artist, who called him “truly, York City’s prison, Rikers Stephen Zoltan Island, to provide 10 weeks a great, great man.” Jim also worked with George IN MEMORIAM Kecskemethy Strait, Reba McEntire, Loretta Lynn, and many other of hand drum and music (BM ’66), August 2013 theory-based lessons to 10 1930s Ross Wayne Powell country stars. After retiring from the record busi- inmates with little to no Joshua Morton Missal (MM ’64), May 2013 ness, he taught at Trevecca Nazarene University and musical experience. Says (BM ’37, MM ’38), Vanderbilt University’s Blair School of Music. Amy, “Our goal for this September 2013

34 Eastman Notes | Spring 2014 MICHAEL OCHS ARCHIVES/GETTY IMAGES { FACULTY NOTES }

In October, Professor of Colorado at Boulder, of Music Education and his . . . gradually . . . Christopher Azzara for violin and piano was traveled to Germany to performed at Harvard teach improvisation as a University on October 18. guest faculty member at the Hochschule für Musik und Honey Meconi, professor Theater in Hamburg and of musicology, gave the the Staatliche Hochschule invited lecture “Power, für Musik und Darstellende Prestige, and Polyhpny: the Kunst in Mannheim. “Many Use of Parchment in Music of the participants in this Manuscript ca. 1450–1600” [Hamburg] class didn’t at the international confer- have experience improvis- ence Sources of Identity: ing, but before the class was Makers, Owners, and Users over, we had improvised of Music Sources before to the spiritual “Joshua,” 1600, held at the University “Mary Ann,” “Long, Long of Sheffield (UK) from Ago,” and a Mozart canon, October 4–6. applying the tech- niques from Developing Associate Professor of Musicianship through Piano Enrico Elisi per- Improvisation,” wrote Chris formed Brahms’s Piano in a blog post you can read Concerto No. 1 with the on the Eastman website. Williamsport Symphony Orchestra on October 15. 1 Ruth Cahn (BM ’68) at PASIC 2013 with John R. Beck (MM ’83) In the last issue of Notes we told of the publications oversees the summer Music majors who serve as teach- Zohn- Muldoon, both Assistant Professor of of Regards sur Debussy, a Horizons program for gift- ers. John has also received professors of composi- Music Theory Johnandrew collection of presentations ed high school students. the University of Rochester tion, were named Ithaca Slominski and Eastman from the International Presidential Diversity College’s Karel Husa theory PhD student Gilad Colloque Debussy in 2 This fall, John Fetter Award for his efforts with Visiting Professors of Rabinovich presented Paris in 2012. The volume (MM ’06, PhD ’11), Urban Strings. Composition. Carlos and the paper “Classical includes contributions by Assistant Professor of Riccardo are visiting Ithaca Improvisation for Classical Professors of Music Theory Music Education, received In October, Steven Laitz separately several times Musicians” at the Fourth Matthew Brown, Jonathan the Rochester Education (PhD ’92), professor of during this academic year, Tel Aviv International Dunsby, and Marie Rolf. Foundation’s Making a music theory, was named giving master classes, Early Music Symposium. In November, Regards sur Difference Award for his director of the Gail Boyd de lessons, talks, and having Johnandrew also presented Debussy received the Paul work with the Urban Strings Stwolinski Center for Music several works performed the opening concert of the Marmottan prize from the program. This partnership Theory Pedagogy. He be- (including performances Sarasota Steinway Society’s Académie des Beaux-Arts. between the Eastman comes only the second di- of the Eastman BroadBand 2013–2014 season. School of Music and the rector of the Center, which in April, 2014). Concurrent 1 Ruth Cahn (BM Rochester City School was founded in 1985 at the with their residencies, 3 Rich Thompson (MM ’68), senior instructor in District provides private University of Oklahoma, Ithaca College is holding ’84), associate professor percussion at the Eastman or small group lessons to and will continue to serve a Latin American Music of Jazz Studies, won the Community Music School string students in grades on the Eastman faculty Festival, with events in Golden Apple award from (ECMS), received the three through seven. John while leading the Center. October and November Rochester’s WROC-TV, Lifetime Achievement in organizes and coaches 2013 and in March and given monthly to an Education Award from The current Eastman music Carlos Sanchez-Gutierrez April 2014. outstanding teacher in the Percussive Arts Society education and performance and Ricardo Rochester area. Rich and at its 2013 convention in On September 27, 2013, his student Ian Colbert, November. Established in Professor of Oboe Richard who nominated him for the 2002, the award honors Killmer received the Distin- award, were featured on recipients for demonstrat- guished Alumnus of the the December 10 newscast. ing the highest ideals and Year award from the Univer- Rich is Band Coordinator professional integrity in sity of Northern Colorado, at Burger Middle School, percussion education and where he received his bach- where he has taught for 28 pedagogy. Recipients have elor’s degree in 1960. years. When asked why he a significant history of kept teaching at Burger exceptional and innovative October saw performances despite a busy performing teaching practices. As the of two works by Professor schedule, Rich replied, “For Jack Frank Instructor in of Composition Robert these kids, because of what Percussion for ECMS, Ruth Morris. Clear Sounds they can do. I’m a musician teaches a percussion studio among Hills and Waters for and it’s fun to watch of 29 students, directs four 2 John Fetter (MM ’06, 3 Rich Thompson solo piano was performed these kids grow and learn percussion ensembles, and PhD ’11) October 8 at the University the craft.”

Spring 2014 | Eastman Notes 35 { STUDENT NOTES }

Ryaan Ahmed, a master’s degree student of Paul O’Dette, was recently named a Paul and Daisy Soros Fellow, chosen for his musical and aca- demic accomplishments along with his status as a first-generation American citizen. At the age of seven, Ryaan and his family emi- grated to the United States from the United Kingdom. He graduated from Harvard University with a degree in Computer Science. His scholarly work focuses on examining the application of computational methods to musicology.

1 Last summer, senior Marissa Balonon-Rosen led Pianos for Peace, a two-fold project that brings music and art to neighbor- hoods, employing pianos as a catalyst for discussion and community building. Donated, used upright and baby grand pianos were 1 Peaceful pianos in the park with Marissa Balonon-Rosen (in leopard-print shirt). painted in bright colors with peace themes and host Fred Child. You can No. 2 by Ukrainian compos- placed in eight locations see Jonathan’s performance er Myroslav Skoryk. throughout downtown and the full interview on the Rochester, where anyone Performance Today website. On November 20, could play them (or listen to Eastman Broadband someone play). At the end Daniel Nistico, a DMA stu- performed at Carnegie of August the pianos were dent of Nicholas Goluses, Hall’s Zankel Hall, one of moved to create a Piano recently released the album four ensembles selected Park for Peace in Rochester; Viaje Mistico . . . A Mystical to participate in a work- in September they were do- Journey, a recital including shop led by the Pulitzer nated to various youth and well-known guitar works Prize-winning composer peacemaking organizations. by Barrios and Albéniz David Lang and mem- as well as more recent bers of the International Erika Pinkerton, a master’s works. Daniel, a native of Contemporary Ensemble. degree student of Juliana Melbourne, Australia, also According to the New York Athayde, is one of 20 won a Welsford Smithers Times, BroadBand “expertly 2 Jonathan Wintringham recipients of a Graduate Travelling Scholarship handled the aural illu- Arts Award from the Jack the Lowry Award, given violist Wendy Richman, which enabled him to study sions of Carlos Iturralde’s Kent Cooke Foundation, through a generous gift and cellist Phillip Borter at Eastman, and in October enigmatic Fata Morgana, given for her community from George Abraham. (MM ’10) in Medtner’s took second place the in which a ghostly wind service work, academic Cahill made his recital de- Piano Quintet. World Competition, open to trio in a balcony faint- achievement, and artistic but at Carnegie Hall’s Weill all instrumentalists. ly haunted the knocks, goals. Erika received her Recital Hall on October 27 2 Saxophonist Jonathan moans and judders of an undergraduate degree from in a concert of music by Wintringham, a mas- Eastman violin students Da onstage string trio.” The Vanderbilt University, and in the Russian late-Romantic ter’s degree student of Sol Jeong and Markiyan ensemble performing the addition to her violin stud- composer Nicolai Medtner. Chien-Kwan Lin and assis- Melnychenko took first premiere of Fata Morgana ies has tutored music theory A number of Eastman tant director of the Eastman prize in the first Oleh consisted of current students and volunteered as students and alumni joined Saxophone Project, was Krysa International Violin students Hanna Hurwitz, a violin and piano teacher Cahill for this concert: recently featured on the Competition, which was Jessica Wooldridge, and for underprivileged children. soprano Yunjin Kim (MM American Public Media held from October 24 James Sullivan, as well as ’12), soprano, in select- program Performance to November 3 in Lviv, recent graduates Deidre Pianist Cahill Smith, a stu- ed songs, and violinists Today, where he performed Ukraine. Markiyan was also Huckabay (BM ’09), Andy dent of Natalya Antonova, Ji-Yeon Lee and Hirono a piece by Astor Piazzolla recognized for the best per- Brown (MM ’08), and is the first winner of Sugimoto Borter (MM ’13), and was interviewed by formance of the Concerto Mariel Roberts (BM ’09).

36 Eastman Notes | Spring 2014 ADAM FENSTER (BALONON-ROSEN) Eastman MAIL A free monthly newsletter for Eastman School of Music alumni, parents, and friends The Eastman advantage continues long after graduation; in fact it lasts a lifetime, as our alumni maintain professional and personal contact with each other, and with the school itself. EastmanMAIL, our monthly newsletter, will provide you with announcements of alumni events in your region and elsewhere, important information about events at Eastman, and much more useful news.

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“Please understand that time is precious. I urge you to not take anything for granted. To raise your awareness to the height of revelation, for every moment in your life will be rendered much richer if the light of your attention burns brighter.” —From Dean Lowry’s commencement address, May 2012