N E W S L E T T E R Vol

Home , Music of France, Plays Live, The Gamut, The Harvard Gazette

Harvard University Department of M usic

MUSICn e w s l e t t e r Vol. 8, No. 1/Winter 2008

Revuluri on Empire and Modern Musical Thought Music Building North Yard in fin de siècle France Harvard University Cambridge, MA 02138

617-495-2791 www.music.fas.harvard.edu

INSIDE INSIDE3 Faculty News 3 Ethiopian Conference in 2 April: Cultural Creativity 3 4 Graduate Student News 4 Photo: Library of Congress Professor Sindhu Revuluri joined the Harvard 5 Library News played out in music after the international influx faculty in 2007. She received her PhD in musi- 6 Ambrosiana at Harvard forefronted by World’s Fairs. cology from Princeton University, where she also Revuluri began studying 19th-century 7 Lachenmann Named taught for one year. Her research interests include World’s Fairs, particularly the 1889 and 1900 Fromm Professor exoticism and modernism in fin-de-siècle France, Expositions Universelles in Paris, as a way to contemporary Indian music and film, trends in 7 Bach Mozart to be released begin looking at how people heard musics from global pop music, and post-colonial approaches in April 2008 other places, and what they understood them to to music history. She is currently working on a be. The 1889 fair was the first where actual -mu 8 Save the date: Crosscurrents book about the relationship between empire and sicians--African, Middle Eastern, and southeast Conference, Oct. 2008 modernist musical thought in France. Asian—were brought to France to perform. “They 8 Alumnae News Four years ago Sindhu Revuluri was conducting built housing structures, based on the style of 9 Mekonnen’s African Roots research in France when a highly charged debate homes in Asia, or the Middle East, for example, 9 Inside Beethoven erupted about whether or not young Muslim girls and imported people to live in them for the six 10 Kraft’s Film Music 101 should be allowed to wear veils in school. After months of World’s Fair. It created a lot of buzz.” her return, she watched with horror as the conflict “The international influx also inspired a 11 Calendar escalated into riots in the streets of Paris. “This strain of nationalism,” notes Revuluri. “There 12 The Yings reflect on seven definitely seemed like more than a debate about was anxiety about preserving national trends years at Harvard the veil,” says Revuluri. “It was more about the and culture, and the French went about com- future of France as a secular republic.” piling collections of music at this time. They Revuluri, whose main area of scholarship were also recording the “exotic” music through is late 19th-century French music, couldn’t help transcription. Such documents have been used Department Chair but see the conflict as tied to colonialism and by many scholars to map distant influences on Ingrid Monson the idea of empire. “The conflict was not about French music. I want to use this information, Director of Administration head scarves. It was about immigration.” She saw but contextualize it within the history of French Nancy Shafman similarities to France at the turn of the 20th cen- empire. What I’m saying is that the sounds that tury, when preoccupations about empire played were understood as being “exotic” were actually Newsletter Editor a similar role in cultural anxiety that eventually absorbed into the French language. They stopped Lesley Bannatyne [email protected] continued on p. 2 Revuluri, continued being exotic.” The Silk Road Ensemble, in residency at Harvard, collaborated with music It’s the difference, says Revuluri, between department chair Ingrid Monson to present Indigo: The Story of a Silk Road Dye. Inspired by absorption and assimilation. the story of indigo and its travel and transformation across cultures, the Silk Road Ensemble “What I am calling absorption is different performed its own arrangment of a melody from Mali, one of many hubs of indigo cloth from assimilation. The exotic musics presented production. Monson led a panel discussion of the traditional music of Mali and its relation at the Expositions were not changed to resemble to the art of indigo. Left to right: musicians Ali Asgar Mammadov (tar), Alim Qasimov the music of France. Rather, it was the French (mugham vocalist), and Rauf Islamov (kamancheh). Photo by Dan Rest musical language, already growing, evolving, and changing at this time, that began to take on gestures once coded as exotic. Though it is often repeated that Debussy was influenced by hearing the gamelan in 1889, the transcriptions from those performances reveal a French understanding of what exotic music actually was. The transcriptions are marked by certain distinctive gestures which, in that context, may be seen as exotic. But used elsewhere, and not labeled as such, the same music ceases to be exotic and is simply French. The exotic has been absorbed.” Revuluri’s study of the transcriptions of pieces performed at the 1889 and 1900 World’s Fairs led her to posit, controversially, “I don’t think the 1889 World’s Fair was life-changing to any composer who witnessed it. I think it may have confirmed or upset certain fantasies, but I don’t believe it changed the nature of exoticism in French music. Its biggest consequence may have been a surge in musical nationalism. “Here’s an analogy, she explains. “Look at place to England. I tell my students, ‘Remem- the Magic Kingdom at Epcot. It’s modeled on a ber that during the height of colonialism, Global Pop World’s Fair, with pavilions representing differ- Britain controlled 25% of the land on earth. Sindhu Revuluri’s second research proj- ent countries. You can buy maple syrup in the But France only had 20%.’ It probably drove ect focuses on Indian pop music and Canadian pavilion, for example. There is music the French crazy.” culture—specifically music from Indian and dance there, but we wouldn’t say that going Revuluri believes that this anxiety about film—and is tied to understanding glo- to Epcot equalled a trip around the world.” cultural identity came out in musical ways that balization. This is also part of her spring How much is absorbed is tied to isssues of scholars have not yet explored. “I’m taking 2008 course on global pop music, where identity, says Revuluri. “I associate the idea of a theoretical approach; something that has she looks at issues of contested collabora- empire with a lot of anxiety, especially in France. been done in literature, but not so much yet tion (artists sampling the work of other Exotic music brought with it the twin threats in music.” artists without permission), how tradition of being incomprehensible and being too easily is reinvented (such as contemporary Pol- understood. Being similar was as scary as being ish musicians who use folksongs in their wildly different for people living 35 years after electronic music), the music of ex-patriots Gobineau wrote about the inherent inequality and diasporic communities, and the nature of human races, where the people of France were of the emerging global artist. on top. “We work on how to make sense “The role empire played in individual and of the artist in the current global com- national anxieties about identity was critical,” munity,” summarizes Revuluri. “When she explains. “In the cultural, ‘high art’ sense, technology binds us so closely, how im- Paris was the place to be a composer. And yet, portant are ethnic and national borders?” in an imperial sense, France was always second

2 Faculty News

In fall 2007 Associate Professor Sean Galla- Kashkashian (viola). In the December issue of Symphony of Psalms (with the Holden Choirs). gher presented lectures at All Souls College, Fono Forum, editor-in-chief Gregor Willmes Marvin will also conduct the Bach B Minor Oxford (on Busnoys’s Song of Songs settings) named Levin Artist of the Year, adding that Mass with the Harvard-Radcliffe Collegium and at the Biblioteca Nazionale Centrale in Levin was one “who, as musician, musicolo- Musicum and Handel & Haydn Society Or- Florence (on 15th-century Florentine chan- gist and musical pedagogue is one of the most chestra, and reports that the Radcliffe Choral sonniers). In July he gave papers at the meeting significant personalities of our time and makes Society was the only collegiate women’s cho- of the International Musicological Society no fuss over it.” Levin performed a 2007 rus to be invited to perform at the American (on Du Fay’s motets) and at a symposium on world premiere of Bernard Rands’ Preludes at Choral Directors Association Eastern Division Johannes Regis held at Cambridge University. the Ruhr Piano Festival in May, and also the Convention in Hartford. Recent publications include articles on the world premiere of Thomas Oboe Lee’s Piano Carol Oja gave a lecture,“West Side Story Berlin Chansonnier in Journal of Musicology Concerto. Both pieces were dedicated to Profes- and The Music Man: Whiteness, Immigration, and on Du Fay’s chansons in Tijdschrift van de sor Levin. Wiener Urtext Edition published and Race in the late 1950s” at the University Koninklijke Vereniging voor Nederlandse Muz- volumes of Mozart’s piano pieces and works of Michigan, and a paper, “Bernstein’s Wonder- iekgeschiedenis. He worked with The Clerks’ for piano, 4-hands, with interpretative sugges- ful Town and McCarthy-Era Politics,” at the Group on a 2-CD recording of the complete tions and completions of unfinished works by AMS conference in November. She gave the works of Johannes Regis, preparing editions Levin. keynote address for the “Musical Theatre in and serving as artistic supervisor. During the Senior Lecturer Jameson Marvin is 1957” conference at the University of Kansas, fall semester he was Robert Lehman Visiting directing the Harvard Glee Club through its “On the Edge of the Sixties: American Musical Professor at Villa I Tatti in Florence. spring program, which features a 150th An- Theater at a Crossroads.” Oja served as Acting ECM released Asturiana, a collection niversary Celebration Concert. The concert Chair of the History of American Civilization of Spanish and Argentine songs performed will premiere a newly commissioned work by department this past fall. and transcribed by Robert Levin and Kim Dominick Argento and include the Stravinsky Cultural Creativity in the Ethiopian American Diaspora A Public Conference and Celebratory Concert April 13–14, 2008 FREE and open to all

CONFERENCE Sunday and Monday, April 13–14 This public, interdisciplinary conference will explore the subject of cultural creativity in the Ethiopian American diaspora. The program begins at 8:00 pm on Sunday evening, April 13, in Tsai Auditorium (CGIS Building, Harvard University), with a novel dual keynote by a father and daughter, Dr. Getatchew Haile and Rebecca Haile. A former MacArthur Fellow, Dr. Getatchew Haile was a member of the Ethiopian Parliament and is Regents Professor of Medieval Studies at St. John’s University. His daughter, Rebecca Haile, is a Harvard Law School graduate and the author of the recent book Held at a Distance. My Rediscovery of Ethiopia. From 9:00 am–6:00 pm on Monday, April 14, there will be presentations and discussion in the Thompson Room of the Vibraphonist Mulatu Astatke performs with the Either/Orchestra Barker Center, spanning topics in Ethiopian diaspora art, literature, Monday evening, April 14, in the Broadway Street parking garage. performance, communcations, history, and culture by an interdis- Cultural Creativity in the Ethiopian American Diaspora is presented by cliplinary group of distinguished speakers. the Harvard University Committee on African Studies and The Working Group on African Expressive Culture, in cooperation with the Radcliffe CONCERT Monday, April 14 at 8pm in Sanders Theatre Institute for Advanced Studies, the Provostial Fund for the Humanities, The Music of Mulatu Astatke. Ethio-jazz composer and vibraphonist the W.E.B. Du Bois Institute for African and African American Research, Astatke with the Either/Orchestra the Office for the Arts, the Depratment of African and African American No tickets are required. Free parking is available after 7:00 pm on Studies, and the Department of Music .

3 Graduate Student News

Emily Abrams won the Paul A. Pisk prize for her paper, “Aaron Copland and Cultural Matthias Röder and art historian Jes- Diplomacy: ‘Un-American Composer Meets Cold War Ambassador,’” given at the Annual sica Berenbeim gave a joint paper at the Am- Meeting of the American Musicological Society, 2007. brosiana Conference at Harvard University in Ryan Banagale was recently awarded the 2007 New England Chapter of the AMS’s Hol- which they proposed a theory for the origin of lace Anne Schafer Memorial award for his paper, “From Isaac Goldberg’s Perspective: Creating an Ambrosian fragment at Houghton Library. Gershwin in the Interwar Years,” given at the May 2007 AMS-NE conference at University of Matthias also published two reviews in the New Hampshire. Mozart-Jahrbuch. Edgar Barroso received First Prize in the category “Composition for Soloist Ensemble” of Seda Röder, concert pianist and Fellow the 4th International Jurgenson Competition for Young Composers. The award ceremony and in the department, performed Sasha Siem’s final concert took place in September at Rachmaninov Hall of the Moscow Tchaikovsky Con- Majesty, Crowhurst, Molash, Beauty and Mon- servatory and included performances by Studio For New Music Ensemble and Marc Pekarsky key Puzzle for piano and violin with Gabby Percussion Ensemble. Diaz at a HGNM concert on December 1st. Davide Ceriani presented “Two masses are singing: la musica di Charles Ives e gli outdoor She also gave a solo concert with works by religious meetings del New England fra il tardo diciannovesimo e l’inizio del ventesimo secolo” in Brahms and Schubert on David Lewin’s piano Pescara, Italy, at the 14th Annual Meeting of the Società italiana di musicologia in October. He at Lowell House. presented “Le prime due edizioni delle Mostre musicali italiane: Bologna 1927 e Roma 1930” David Trippett published an article in in Bologna at the 11th Musicological Colloquium of Il Saggiatore Musicale in November. Ceri- Journal of Musicology (24/4) entitled “Com- ani also was interviewed on Charles Ives by the Radio Svizzera Italiana in January, 2008. posing Time: Zeno’s Arrow, Hindemith’s Erin- Ellen Exner and John McKay announced their engagement and plans for a wedding in nerung, and Satie’s Instantanéisme,” and had May. another article accepted by 19th-Century Mu- Bob Hasegawa received an award for best student paper at the Society for Music Theory sic, entitled “Après une Lecture de Liszt: Virtu- conference at Baltimore. Part of the award will include publication of the paper. osity and Werktreue in the ‘Dante’ Sonata.” Thomas Lin received the Mario G. and Katrina Tanner Vangeli Memorial Prize from Mid- He published a review of “Liszt and his World” dlebury College for “outstanding performance as a student during the 2007 summer session.” in Notes (63/4), and has been commissioned Lin studied Italian language at Middlebury during the summer. to write a chapter for the upcoming volume José Luis Hurtado was composer-in-Residence at MACLA Arts Center, in San José, CA Wagner and his World for Princeton University where he gave lectures and had four of his pieces performed in concerts at San Jose State Univer- Press. Over the summer, Trippett gave a talk sity, the Castellano Play House and Montalvo Arts Center. Hurtado’s Tres Piezitas Op.15 won entitled “Unforgettable Impressions” at the second prize in the international Ariel Piano Composition Competition and his L’ardito e quasi joint conference of the Royal Music Associa- stridente gesto for string quartet won the Julián Carrilo Composition Prize in Mexico. He per- tion and the Centre for the History and Anal- formed as a pianist with his violin and piano duo, Nueva Musica Duo, at the Festival Interna- ysis of Recorded Music, and more recently cional Cervantino, where a program of 20th-century music by Chinese composers included presented “The Composer’s Rainbow: Ru- works by Lei Liang and Du Yun. Hurtado recently received a grant from the National Endow- dolph Kolisch and the Role of Interpretation ment for the Arts of Mexico. in Performance” at this year’s annual AMS Several of Karola Obermueller’s works were performed by White Rabbit at the Goethe- meeting in Quebec City. In addition, he con- Institut Boston, together with pieces by Karlheinz Stockhausen and Anton Webern in a Decem- ducted several performances of contemporary ber “Meet the Composer” program. opera in the UK during August 2007. Anna Zayaruznaya curated the exhibit for “Ambrosiana at Har- vard,” and also presented the paper, “In defense of

Graduate students, staff and undergraduates sing traditional and off-kilter carols at the department’s holiday party, December 13, in the Taft Lounge. Right: composer Jean-Francois Charles plays sax at the party; his son, Corentin, enjoys a candy cane; Music department staff members Kaye Denny and Eva Kim.

4 Library News green lines: The notation of B-flat in early Emilyn Brown Selected as Ambrosian antiphoners.” In November, Anna read “What Fortuna can Do to a Min- Administrative Fellow im” at AMS in Quebec City. By Jennifer Tomase

s one of ten new fellows for the 2007–08 AUniversity Administrative Fellowship Program (AFP), Emilyn Brown is a busy woman, dividing her time between significant projects at Loeb Music Library and the Har- vard University Archives. Brown’s archivist background makes her an excellent fit for both of her Harvard Photo: Office of the Assistant to the Presi- assignments. For the past four years, she has dent, Harvard University worked as the Archivist/Acting Librarian for the Library for Caribbean Research (LCR) For Brown, the timing of her arrival in the at the Research Institute for the Study of AFP program is fortuitous. The Library for Ca- Man (RISM) in New York. There Brown ribbean Research closed its doors at the end of had responsibility for managing all aspects of August, and she just recently earned her MSLIS archival preservation for the institute’s archival from the Pratt Institute in New York. Brown collection and for preparing it for transfer to also holds a BA in anthropology and African another institution. American studies from City University of New At Loeb Music, Brown reports to Sarah York, and an MA in history from Columbia Adams, Keeper of the Isham Memorial Li- University. brary, and is working through a backlog of She initially learned of AFP through the archival processing that includes everything Association of Research Libraries (ARL). “The from classical composers to jazz collections Administrative Fellowship Program offered to the Isham special collections. experience in a library setting, which is what I “Currently I’m surveying the collection was really looking for. And I wanted to be in a that Isham has for Nadia Boulanger to look real team environment,” says Brown. at how music archives are processed and I’m Now in its eighteenth year at Harvard, learning what sort of processing goals Loeb AFP works to attract candidates, especially Music has,” says Brown. “They want me to those from underrepresented ethnic minority suggest ways that archiving could be imple- groups and those committed to addressing mented. Although they’ve done a great job, their under representation in university admin- they’re looking for feedback.” istration, to administrative careers in higher “We are extremely grateful for the special- education. The program selects professionals ized skill and sophisticated experience and from both within Harvard and without. Those accomplishment she brings to our enterprises chosen benefit from a twelve-month manage- for the year,” said Virginia Danielson, Richard ment experience in an academic environment F. French Librarian of Loeb Music Library. complemented by a professional development Brown may not be a musician herself program, all coordinated by the Office of the but she carries an appreciation for music of Assistant to the President. all kinds and aims to make the archives as ac- “Needless to say, I'm very happy to be cessible as possible, largely through Encoded here,” says Brown. “I’m very excited about what Archival Description (EAD) guidelines. She I can bring, but also about what I’m learning. also hopes to be involved with the digitiza- I am just really open to the whole experience, tion of a civil rights collection, which would and have discovered that I very much like being involve identifying people in the civil rights part of an academic community. This is great movement and helping choose those whose preparation for the future, and I am thankful work might be digitized. for the opportunity.”

5 Ambrosian music is a style of liturgical chant practiced in Milan 800 years ago. The conference,Amrosiana at Harvard: New Sources of Milanese Chant (October 19–20, 2007), included a performance of “Vespers of St. Luke the Evangelist in Ambrosian Chant” at St. Paul Catholic Church in Cambridge. quire, preserve, and digitize what has become a significant collection of Ambrosiana. The collection now spans the 12th to the 15th centuries, which will allow Kelly and others to study the development of the repertory over time. For Kelly, the most exciting part of the manuscript discovery is the opportunity it provides for live performance and music-mak- ing. “It is incredible to sing from an 800-year-old object,” he says. “These manuscripts come to life only when you sing from them. Through performance you can create a connection with a human being who, centuries ago, held this same text in his hand.” Kelly and the maestro di cappella of the Basilica of St. Ambrose Ambrosiana at Harvard Brings Together Medieval in Milan led vespers services at St. Paul Catholic Church in Cam- bridge this past October 18. Performers from the Basilica of St. Scholars, Musicians, Manuscripts Ambrose and music students from Harvard University sang from By Emily Simon Excerpted from The Harvard Gazette the Harvard manuscripts. n Oct. 18, 2007, students and guest musicians collaborated “Ambrosian music is still sung in two places in Milan,” Kelly in the North American premiere of an 800-year-old chant says, “but we don’t know that it is used anywhere else in the repertory from Harvard’s Houghton Library. world.” OOne of the chants that was performed was recently discovered The service kicked off a weekend conference focused on the by Thomas Kelly, Morton B. Knafel Professor of Music, in a collec- Ambrosian manuscripts, titled “Ambrosiana at Harvard: New tion bequeathed by Philip Hofer, founding curator of the Houghton Sources of Milanese Chant.” Library Department of Printing and Graphic Arts. The conference was funded by Houghton Library through a “I was looking through several stacks of manuscripts to explore gift in honor of Zeph Stewart, Andrew M. Mellon Professor of the which would be good subjects of study for a graduate seminar, when Humanities, Emeritus; the Committee for the Provostial Fund in I opened one and said, ‘Wait a minute…’” Kelly explains. the Arts and Humanities; the Harvard Divinity School; the Com- The manuscript turned out to be a book of Ambrosian chant mittee on Medieval Studies at Harvard; the Harvard Department of dating from the 14th century. Kelly estimates that there are only 100 Music; and the Barker Center for the Humanities. complete manuscripts of Ambrosian music still in existence. The three Houghton manuscripts, an additional manu- Ambrosian music is a style of liturgical chant that was practiced script from a private collection, and photographs of other Ambro- in Milan for centuries. The chant is named for St. Ambrose, the bish- sian material were on display at Houghton Library to accompany op of Milan. Although Gregorian chant is more familiar today, Am- the conference. brosian chant remained an important part of the medieval cultural scene well into the 15th century. “We misrepresent medieval chant if we say it was all Gregorian,” Staff News Kelly says. “Ambrosian chant survived the spread of Gregorian chant, so it has a larger significance in understanding how music spread throughout the medieval world.” Eva Kim joined the department this past fall as a Staff Assistant. According to Kelly, Ambrosian chant survived because of strong Eva has a Master’s degree in Music from Northwestern and a BM local authority and tradition. from University of Michigan. She previously worked as Classical “No one in Milan could be convinced that the authority of Pope Northwest Production Manager, Tower Records and as a pediatric Gregory was greater than the authority of St. Ambrose,” Kelly says. medical assistant. “But the myth of Gregory the Great enabled Gregorian chant to We also welcome Vicky Peterson to the staff as of January. spread widely elsewhere.” Vicky is part-time production coordinator, and most recently worked Thrilled by his discovery of the manuscript, Kelly encouraged as business manager for The World and Zoom, at WGBH-TV in Houghton Library to acquire two additional, older manuscripts of Boston. She had previously worked as production coordinator at Ambrosian chant. With the help of William Stoneman, Florence Fe- MASS MoCA and Technical Director at the American Repertory arrington Librarian of Houghton Library, Harvard was able to ac- Theatre.

6 Lachenmann Named 2008 The Century of Bach and Mozart to be Released in April, 2008 Fromm Foundation The Century of Bach & Mozart: Visiting Professor Perspectives on Historiography, Composition, Theory & Performance Sean Gallagher & Thomas Forrest Kelly, editors Art without the experience of transcendence might be nice or ‘interesting’ or intellectual or many today Johann Sebastian Bach and Wolfgang Amadeus Mozart stand as tow- entertainment but doesn’t deserve to be called ering representatives of European music of the eighteenth century, composers whose ‘art’ —interview with Lachenmann in New works reflect intellectual, religious, and aesthetic trends of the period. Research on Notes, SPNM, November 2006 Ftheir compositions continues in many ways to shape our broader understanding of eighteenth-century musical thought and its contexts. The Harvard University Department of This collection of essays by leading authorities Music is delighted to announce the appoint- in the field offers a variety of new perspectives ment of Helmet Lachenmann as Fromm on the two composers, as well as some of their Foundation Visiting Professor for spring, important contemporaries, Haydn in particular. 2008. Lachenmann is the esteemed German Addressing topics as diverse as the historiography composer of mostly orchestral, chamber of eighteenth-century music, concepts of time and piano works that have been performed and musical form, the idea of the musical work throughout the world. and its relation to publishing practices, compo- Lachenmann refers to his works as sitional process, and performance practice, these musique concrète instrumentale. This is essays together constitute a major contribution to music, he says, “in which the sound events eighteenth-century studies. are chosen and organized so that the man- This book had its origin in a conference that ner in which they are generated is at least as took place at the Music Department of Harvard important as the resultant acoustic qualities University on September 23–25, 2005 to honor themselves.” Professor Christoph Wolff, Adams University Boston area audiences will be able to Professor at Harvard University. hear Lachenmann’s music at two Harvard concerts this spring: His Pression will be per- CONTRIBUTORS formed at the Fromm Players of Harvard’s 60 David Blackbourn John Butt Eric Chafe Thomas Christensen Hermann Danuser Years of Electronic Music (March 7-8); and Sergio Durante Christopher Hogwood Ulrich Konrad Ton Koopman a concert of the composer’s Allegro Sostenuto Robert Levin Daniel R. Melamed Hans-Joachim Schulze Elaine Sisman and String Quartet No. 3 “Grido” will take Reinhard Strohm James Webster Gretchen Wheelock Peter Wollny Neal Zaslaw place April 9th, also in Paine Hall. Both ordering information: events are free and open to the public. The Century of Bach and Mozart is available from Harvard University Press. online orders: http://www.hup.harvard.edu/catalog/KELCET.html Graduate Music Forum Toll-free fax 1-800-406-9145 (within US and Canada) Toll-free telephone 1-800-405-1619 (within US and Canada) Music & the Urban Inside Beethoven’s Quartets: The Juilliard & Lewis Lockwood March 15, 2008 9:30 am to 6:00 pm The Juilliard String Quartet and Research Professor Dudley House, Harvard University Lewis Lockwood have co-authored the soon-to-be-released Inside Beethoven’s Quartets (Harvard University A day-long interdisciplinary Press, April 2008), and will give a public presentation graduate student conference based on their work at Paine Hall on Monday, March 31st at 4:15 pm. The book and accompanying record- Keynote speaker: ing focus on three of these profound and beautiful Mary Davis works of music from the inside. Lockwood will provide Case Western Reserve University the historical and biographical background along with musical analysis. The members of the Juilliard Quartet Information: http://www.hcs.har- share the fruits of decades of performing and teaching vard.edu/gradmus/index.php these compositions. Free and open to the public. [email protected]

7 Alumni News

Jeannie Guerrero (PhD ’04), currently As- ward Green) for a recent issue of Contemporary sistant Professor at Eastman School of Music, Music Review dedicated to Chinese music. Crosscurrents: reviewed David Lewin’s Studies in Music With Oboist Jennifer Montbach (AB ’95) American & European Text (Oxford 2006, which Ed Gollin [PhD founded the now nine-member Radius Ensemble ’01] edited) in the inaugural Summer 2007 in 1999 to play chamber music in a casual environ- Music in Interaction, issue of Gamut, and published “Francesco’s ment. They present four concerts a year at MIT, as 1900–2000 Dream: Musical Logic in Landini’s Three- well as a popular annual program for children. Voice Ballate” in Music Theory Online in Nov/ Leonard Lehrman (AB ’71) assumed the An international conference in two parts: Dev 2007. She chaired the Committee on duties of Music Director/Composer-in-Residence Harvard University, Cambridge, MA Diversity session at SMT Baltimore, and read at United Methodist Church of Huntington & Oct. 30–Nov. 1, 2008 a paper in a session with Bob Hasegawa and Cold Spring Harbor in Huntington, NY. He con- Ludwig-Maximilians-Universität Munich Christoph Neidhofer (PhD ’99). Guerrero tinues as founder and director of the Metropolitan May 7–9, 2009 co-chaired the Architecture & Music session Philharmonic Chorus, and is planning numerous at the Society of Architectural Historians in concerts with them honoring the 100th birthday, uring the twentieth century, inter- April 2007 in Pittsburgh. January 15, 2009, of his teacher and mentor Elie Dactions between North America Sara and Alan Gosman (PhD ’01) an- Siegmeister. Lehrman performed and broad- (primarily the U.S.) and Europe were nounce the birth of their daughter, Elisabeth cast many of Siegmeister’s works at Harvard in vital to the development of musical life Ruth, on October 3, 2007. 1969–71. His new song cycle, “Long Island Songs on both sides of the Atlantic. The types of Seasoned Women,” is scheduled for a premiere of connections—which could be produc- with soprano Helene Williams later this year. tive or antagonistic—spanned the gamut Richard Rinderman (AB ’53), a former from individual contacts to institutional options trader on the American Stock Exchange, collaborations to governmental programs. has turned a skill with tunes into a business he runs This conference will not only be divided with his wife, Gloria. The Rindermans, longtime between two locations, but will also fall residents of Great Neck, Long Island, formed Ry- into two parts, corresponding to the two mar Publishing in 1997 to record CDs and develop halves of the century. programs that use rhythm and rhyme to teach The conference program will be ac- vocabulary and ethics. They most recently created companied by concerts and keynote events the “nonviolent superhero” Bubblebee, who has in both places. Betsy Jolas (in Cambridge) Christopher Honett (PhD ’07) has enjoyed popularity on CD and in an audiobook. and Steve Reich (in Munich) will be the been named Executive Director of Manhattan The Rindermans also create pop, jazz, and satirical keynote speakers. Sinfonietta in New York City. songs for adults. The Crosscurrents conference will Roe-Min Kok (PhD ’03) spent a Andrew Talle (PhD ’04) presented a paper encourage boundary crossing, by bringing sabbatical semester in London on a British at the AMS Conference in Quebec entitled “The together scholars from both sides of the Academy fellowship. Last May she received Musical Lives of Two Teenage Countesses in Atlantic whose work already deals with the a tenure-track appointment at McGill. Darmstadt, 1742-44.” He is publishing an article subject of European-American intersections Lei Liang has taught as Assistant Pro- in the Leipzig Jahrbuch fuer Stadtgeschichte about yet does not always get shared among them. fessor at the University of California, San the diary of a scientist and philosopher named Jo- A larger (and more idealistic) goal of the Diego since Sept, 2007. He received com- hann Gabriel Fischer who traveled all over Europe conference is that the contacts that arise missions from Meridian Arts Ensemble to in the years 1727–33. Talle is also working on a from it will lead to ongoing collaborations, compose a piece for brass quintet and per- book about the audience for J. S. Bach’s music assisting in the development of a truly in- cussion; and a commission from the Fromm (especially his keyboard music) during his lifetime. ternational musicology. Music Foundation to compose a saxophone Talle is extremely delighted to welcome Richard The conference is being organized quartet to be premiered on December 7, Giarusso (PhD. ’07) as his newest colleague in jointly by the Harvard University De- 2008 by more than 20 quartets, concurrent- the Musicology Department at Peabody. partment of Music (Carol Oja, Anne C. ly around the world. A new commission Stephanie Treloar (PhD ’04) is an associate Shreffler), Ludwig-Maximilians-Universität from the Manhattan Sinfonietta for a Harp producer with an independent film production Munich (Wolfgang Rathert), and the Paul Concerto is scheduled for a premiere in New company in Toronto, Conquering Lion Pictures. Sacher Foundation, Basel (Felix Meyer). York, and his new string quartet Gobi Gloria The company recently premiered “Poor Boy’s Contact information: [email protected] was premiered by the Ying Quartet and re- Game,” starring Danny Glover and Rossif Suther- vard.edu or Crosscurrents c/o Department leased on Telarc Records in January 2008. land at the Toronto International Film Festival. of Music, Harvard University, Cambridge, Additionally, Liang was co-editor (with Ed- Richard Whalley (PhD ’04) was appointed MA 02138, USA. continued on next page

8 Mekonnen Finds African Sebastian Berweck’s Extended Piano Roots in Boston Music Scene Excerpted from the Boston Herald, “Ethiopian Golden Age Intrigues Boston Sax Man,” by Bob Young. Saxophonist Danny Mekonnen was surprised when he realized after settling in Boston five years ago that New England might be where he’d find his musical roots. “I didn’t expect it,” said the 27-year-old Paris, Texas, native. “It was really exciting.” The roots? Ethiopian. Mekonnen discovered there are more than a few people here who will fly like bees to this slinky North African sound. And Mekonnen had the honey: a plan to form a band that puts a modern spin on the funky sounds of Ethiopia’s golden age of music of the ’60s and ’70s. Now he’s the leader of the Debo Band—“debo” mean- ing communal labor or collective effort in Amharic, Sebastian Berweck is one of the most sought- Photos: Hillary Zipper, Ean White Ethiopian’s main language. after pianists for classical and contemporary “I got plugged into the local Ethiopian scene by, music, and a specialist in piano performance incorporating live electronics. He gave both a What does a jazz tenor sax player concert and a lecture/demonstration at Harvard studying for his Ph.D. in ethnomu- in November. Berweck coaxes non-traditional sicology at Harvard find so appeal- sounds out of the piano by using unlikely ing about an esoteric sound made an objects—tennis balls, fingernails, kneaded art ocean away four decades ago? erasers—to alter the sound of the strings. He also employs electronics to expand the piano’s among others, Russ Gershon of Either/Orchestra,” said range, programming a computer to alter sound Mekonnen, who also befriended members of the Stick as he plays live. Above, the interior of a piano is and Rag Village Orchestra, an outfit that performs a projected above for Sebastian Berweck’s concert in Paine Hall. Right, Sam Obermueller mix of Eastern European, klezmer and circus music. sleeps in an equipment case while his parents, composition students Karola Obermuel- Several Stick and Rag members are in Debo, along ler and Peter Gilbert, attend rehearsal during Berweck’s residency at Harvard. with an eclectic mix of players whose backgrounds range from jazz-rock noise outfits to the Boston Phil- Alumnae, continued harmonic. Add in three Boston-based Ethiopian singers and to a full-time permanent academic position by the University of Manchester. He you’ve got a sound that bridges cultures—which is just set up a New Music Ensemble at the university and has performed Stockhausen’s what Ethiopian pop music did in its golden age. Kreuzspiel and Birtwistle’s Silbury Air, plus numerous student compositions. Whalley’s All of which begs the question: What does a jazz most recent work, Interlocking Melodies (inspired by a painting by de Kooning) was tenor sax player studying for his Ph.D. in ethnomusi- composed for the Quatuor Danel. In February 2007 Dinosaur Annex performed cology at Harvard find so appealing about an esoteric Twisted Variations (2001) in First Church Boston, and in April 2007 Rodney Lister sound made an ocean away four decades ago? performed Prestissimo con violenza, ma molto espressivo con intimissimo sentimento (also “It’s a music that’s almost within a time capsule,” 2001) on toy piano at Boston University. Mekonnen said. “There’s all kinds of world beat and Clifford Woodbury, 3rd writes with sadness that his fatherClifford A. Wood- Afropop music that’s interesting, but there’s something bury, Jr. (AB ’37) passed away in January 2007. He thought it would interest readers about this that makes me wonder, ‘Whoa, where did to know that his father had a lifelong love of music. After he left Harvard, the elder that come from?’ There’s just something mysterious Woodbury studied voice in New York City and gave a concert at Carnegie Hall in about it.” 1949. Although he gave up singing professionally he sang throughout his life, giving Danny Mekonnen is an ethnomusicology student in the his last concert in 2003 at The Quadrangle, the retirement and life-care community PhD program at Harvard. in which he resided.

9 Photo: Mariam Nazarian Robert Kraft, Fox Music, & Film Music 101 Because music scoring in film is the last a Harvard student, and was also involved production process, explained Robert with animation at the VES department, Kraft in an October presentation for work that would come into play much later students, it presents particular chal- on projects such as The Little Mermaid and lenges. Scoring requires not just musical Ice Age 2. After graduation, he moved to ability, but also humility, because of the New York City, earned a living as a jazz mu- collaborative nature of movies. sician, and wrote and performed a new song “You’re painting someone else’s every day. A recording contract brought house,” he explained. him to Los Angeles, where he recieved his Kraft was at Harvard for a series of first film score offer. events sponsored by the music depart- “I had no idea how to do it, and I ment and the Office for the Arts Learn- accepted the gig,” he told students. “I did ing from Performers program. He visited what I needed to do. I went to a bookstore, the department's weekly Friday lunch read about film scoring, bought some gear, talk (an informal forum for composers), and asked people who had scored films. You and toured the HUSEAC facilities with make a lot of mistakes. But you always learn Prof. Tutschku. He gave a master class more from a lot of mistakes.” Robert Kraft (AB ’76), president of Fox Music, Inc. co- where he screened student and alumni Kraft switched from talent to manage- produced the Academy Award-winning song, “Under the scores, and talked with students about ment, where he works today as President of Sea,” from Disney's The Little Mermaid. He has supervised the basics of the film music business Fox Music. According to Kraft, a portion dozens of Fox film scores and soundtracks includingTitanic from the commission of a piece through of success in Hollywood can be attributed and Moulin Rouge, as well as TV shows such as “24” and its transformation into a top-selling simply to luck. Says Kraft, “you find out in “The Simpsons.” In October, Kraft spoke with students at Harvard about the music industry in his workshop, “Film soundtrack. life that you were the seventh guy on the Music 101.” Kraft started to write songs while list when the first six guys passed.” Blodgett Artist-in- Residence Geri Allen

Internationally known composer and pianist Geri Allen visited Harvard to talk with students and perform two concerts—one with her trio and one with the Harvard Jazz Band. Allen has recorded or performed with musicians as diverse as Charles Lloyd, Vernon Reid, Mary Wilson and the Supremes, Betty Carter, Marianne Faithful, and Charlie Haden. She spoke to students as part of Ingrid Monson's Sayin’ Something core course, detailing both her career and her thought about jazz in historical context. “Jazz is culture,” Allen emphasized. Jazz, she believes, is a legacy art form. It can connect the African- American community with its history in a way that continues to be relevent. Monson agrees, explaining that Allen’s thinking about jazz in a larger social context was one of the reasons she was invited to Harvard. “There's always a dialogue between music and community,” Monson said.

Undergraduate students Marcus Miller (left) and Jonathan Lee (right) with Geri Allen at Allen’s lecture/demonstration in Paine Hall.

10 department of music spring 2008 calendar of events romm Saturday, February 9, April 26, May 24 at 8 pm Players Harvard Group for New Music New works by composers of the HGNM Guest artists at Harvard Friday, March 14 at 8 pm Patti Monson, flute F Blodgett Chamber Music Series Evan Ziporyn, clarinet The Ying Quartet 3.7–3.8 2008 Michael Norsworthy, clarinet Beethoven Quartet in a minor, Op. 132 Sebastian Currier, Lowell Liebermann: LifeMusic Stephen Olsen, piano Gabriela Diaz, violin Sunday, March 16 at 4 pm David Russell, cello World Music at Harvard South Indian Classical (Karnatic) Music and DINOSAUR ANNEX 60 Monday, March 31 at 4:15 pm Juilliard Quartet & Lewis Lockwood years Inside Beethoven’s Quartets Friday March 7 at 8 pm Bresnick Conspiracies Wednesday, April 9 at 8pm Fromm Visiting Professor Concert Reich New York Counterpoint of The Music of Helmut Lachenmann Feldman Intersection Allegro Sostenuto Ferneyhough Mnemosyne Michael Norsworthy, clarinet, Stephen Olsen, piano, electronic David Russell, cello Lachenmann Pression String Quartet No. 3 “Grido” Felder Coleccion Nocturna Parker String Quartet music

Monday, April 14 at 8 pm 11:00 PM Ethio Jazz Stockhausen Mantra Mulatu Astatke and Either/Orchestra Frank Gutschmidt & Benjamin (Sanders Theatre, free) Kobler, piano

Friday, April 18 at 8 pm Blodgett Chamber Music Series Saturday March 8 at 8 pm The Ying Quartet Harvey Tombeau de Messiaen Beethoven Quartet in D Major, Op. 18, No. 3 Davidovsky Synchronisms No. 9 Stravinsky complete works for string quartet Schoenberg Verklärte Nacht Ussachevsky Wireless Fantasy Czernowin Ina Friday, April 25 at 8pm Boulez Dalogue de l'ombre double Blodgett Distinguished Artists TASHI Peter Serkin, piano, Ida Kavafian, violin, Sims Night Piece Richard Stoltzman, clarinet, Fred Sherry, cello Messiaen Quartet for the End of Time 11:00 PM Stockhausen Oktophonie All events take place in John Knowles Paine Concert Hall and are free and open to the public. www.music.fas.harvard.edu/calendar.html John Knowles Paine Concert Hall Free and open to the public . No tickets required.

Cambridge, MA 02138 MA Cambridge, Holyoke Center 350, 1350 Massachusetts Ave. Massachusetts 1350 350, Center Holyoke

c/o Graduate School Alumni Association Alumni School Graduate c/o

Department of Music of Department

H arvard University arvard

The Ying Quartet Reflect on Blodgett Residency On April 18, 2008 the Ying Quartet concludes its seven-year Blodgett Artist-in- been fun because we get to share works that we love and to talk about Residency at Harvard. We talked with the quartet about their years on campus. what makes them fascinating and rewarding to us, because the students Seven years is quite a long inevitably come back at us with questions or observations that lead us time. What stands out? in new directions. We always tell them that after almost twenty years of Tim: We have had rehearsing together daily, we are eager for new points of view, and they three marriages and three never let us down! Another classroom activity is reading composition children born during our exercises. These can range from completely orthodox and highly polished time at Harvard (spread in style, to wildly experimental, to, shall we say, somewhat unformed. out among the members, But even when you see a new score and you totally don’t get it, there’s of course). Some of the always the possibility that it’s your own limitation that’s preventing you more notable recordings from understanding what the composer had in mind. that we have released are Where is the string quartet going as an artform? Life Music volumes 1 and 2 (Quartz), the Complete String Quartets and Tim: Commissioning and performing new compositions is the Sextet by Tchaikovsky (Telarc), and Dim Sum, a collection of recent Chi- single most important activity that we can undertake as a quartet. nese-American compositions (Telarc). Hopefully this work will be enjoyed by future generations of music Phil: Some of the events that we especially enjoyed were the many lovers, but even for contemporary listeners it is vital. One of the best classes we visited where we felt we learned so much from Music Department arguments that can be made for the relevance of the historic repertoire to faculty and the curious and insightful students, and the special dinner and current society is to show the string quartet’s ability to capture our own performances at the residential houses, particularly Mather, Leverett and experiences in musical terms through these new compositions. When Pforzheimer. We also remember all of the concerts in Paine Hall and the an audience member who is exploring string quartets is able to make a collaborations with faculty performers and composers. One connection that connection between one of these new works and its point of inspiration was meaningful to us is with Robert Levin, who was one of our very first (something from our shared American identity), we challenge them to quartet coaches in a summer study, the Quartet Program, around 1982. make a similar connection between the quartets of, say, Beethoven, and Could you talk a bit about your work in the classrooms? our shared human experience. We have purposely tried to commission a Tim: One of our most common classroom activities here is playing variety of styles for the project—Bernard Rands and Paquito D’Rivera have a quartet as the starting point for a group discussion about the music. It's both written for us—and in a way this reflects the overall quartet world.