KU Jazz: From Underground to Around the World 7 Student Success Stories 11 Notre Dame Organist Named Artist-in-Resident 16 Remembering KU Brass Choir’s 1964 Southeast Asia Tour 23

serenadeUNIVERSITY OF KANSAS SCHOOL OF MUSIC FALL 2019 TABLE OF CONTENTS

3 A Year in Review 5 Jayhawks on the Move 6 Success in China 7 Jazz at KU 11 Students in the Spotlight 11 - Organist Competes on International Stage 12 - Dual Music Ed and Pre-Med Major is 2019 Presser Scholar 13 - Afghan Trumpeter's Journey to KU 15 Faculty Research and Accomplishments 15 - Debra Hedden Inducted into KMEA Hall of Fame 16 - Notre Dame Organist Olivier Latry Named Artist-in-Residence 17 - Romantic-Era Music Linked to Real-Life Romantic Entanglement 18 - Blues Scholar Debunks Notion Hokum was Inauthentic 19 - Trombone Trio Expands Repertoire on New Recording 19 - Margaret Marco Makes New Music for the Oboe 20 - Composer Tries to Capture ‘The Music of the Words’ 19 Alumni Stories 21 - A Conversation with KU Legend Delores Stevens 22 - Alumni News 23 - Remembering KU Brass Choir’s 1964 Southeast Asia Tour 27 Introducing Development Director Curtis Marsh 27 School of Music Donor Support

Serenade Magazine is published once a year for alumni and friends of the University of Kansas School of Music.

DEAN PHOTOS Robert Walzel Pablo Cabrera Wally Emerson EDITOR Luke Jordan Christine Metz Howard Christine Metz Howard DESIGNER Tim Seley Alumni updates can be sent to: Tiana Lawson Dan Storey KU School of Music CONTRIBUTORS R. Cole Thompson Attn: Office of Communications Andy White Rick Hellman 460 Murphy Hall Janet Porietis Christine Metz Howard 1530 Naismith Drive PROOFREADER PRINTING Lawrence, KS 66045 Janet Diehl Corwin Kingston Printing, Eudora, Kansas For more information call (785) 864-9742 or e-mail [email protected] Cover: In April, KU Jazz Ensemble I, under the direction of Dan Gailey, was one of six college big bands selected to perform at the Monterey Jazz Festival's Next Generation Jazz Festival. Photo: R. Cole Thompson

1 A Message from the Dean

elcome to the third edition of Serenade, the annual update from the University of Kansas School of Music. WWe sincerely hope you enjoy reading about our many successes from this past year, as well as some of the exciting plans to come. So many of you have commented on last year’s Serenade, with its reports on classmates’ accomplishments and nostalgic tales of alumni’s treasured time at KU. This edition continues to highlight our tradition as one the nation’s leading music schools, preparing graduates for meaningful careers and lifetimes of fulfillment through music. We are particularly proud of KU Jazz Ensemble I, which won the equivalent of a national championship when it was selected through competitive audition as Downbeat magazine’s Large Jazz Ensemble of the Year (Graduate Division). Other student ensembles continue to distinguish themselves through their performances at the Lied Center and in the Kansas City area. Our students make us proud in so many ways, not the least of which is by getting good jobs that contribute in significant ways to society. Nearly 100 percent of our undergraduate music education and music therapy students find high quality employment in the first year after graduation. KU doctoral music graduates are also finding success, including faculty positions in other university music schools across the country. Faculty are passionate about working with our students, both in the academic training they provide and their mentorship outside of the classroom. Their own accomplishments in research and professional service help keep the reputation of our School of Music strong among elite comprehensive music schools. It is with a sense of melancholy that we say farewell to Debra Hedden, who is retiring after a successful career teaching music to children and training future generations of music teachers. We congratulate Dr. Hedden on her wonderful career and many exemplary contributions to KU. We have faced a budget reduction approaching $500,000. To continue serving our students and empowering our faculty, we are more reliant than ever before on philanthropic support from generous patrons and passionate alumni. No gift is too small! Learn more at music.ku.edu/ kumusicfriends. Music changes people’s lives. Through our work together, MUSIC is making a difference for our university and in our world.

Rock Chalk, Jayhawk!

Robert Walzel, Dean School of Music

2 A YEAR IN REVIEW Photo: Christine Metz Howard Metz Christine Photo:

The rain didn’t stop the Class of 2019 from shining during the KU School of Music Recognition Ceremony at Murphy Hall on May 18. Nearly 150 students graduated from the School of Music, celebrating with the traditional walk through the Campanile, down the hill and into Memorial Stadium for university-wide Commencement on May 19.

Right: The KU School of Music kicked-off the academic year with the 1 19th Annual Collage Concert, showcasing the school’s wide array of talent and disciplines and ending with a rousing Seeley Tim Photo: performance by the KU Marching Jayhawks, performing game day favorites throughout the Lied Center.

Right: On Armistice Day, the KU Symphony Orchestra, led by conductor Carolyn Watson,

performed a concert at the Kauffman Center for Howard Metz Christine Photo: the Performing Arts in Kansas City, Missouri, to mark the 100th anniversary of the end of World War I. The concert, A Centenary of Conflict, commemorated loss and offered renewed hoped.

3 Photo: Luke Jordan Luke Photo: Photo: Andy White, KU Marketing and Communications and Marketing KU White, Andy Photo: Photo: Christine Metz Howard Metz Christine Photo:

This spring, romantic blunders abounded and fairies interfered in the KU School of Music and KU Theatre joint production of Benjamin Britten’s A Midsummer Night’s Dream, drawn from Shakespeare’s classic comedy. The production was directed by John Stephens, professor of voice, and featured the KU Symphony Orchestra, conducted by Carolyn Watson. Photo: Christine Metz Howard Metz Christine Photo: Top Right: In January virtuoso percussionist and composer Andy Akiho joined the KU Percussion Group, directed by Michael Compitello, in a concert presented by the Lied Center.

Bottom Right: Saxophonist and Dave Matthews Band member Jeff Coffin wowed students as the headliner of the 2019 Prairie Winds Festival. The former member of the Grammy-winning Bela Fleck and the Flecktones gave a master class and performed with the KU Wind Ensemble and KU Jazz Ensemble I in February. His visit was sponsored by Reach Out Kansas, Inc.

Left: A favorite KU holiday tradition, the KU School of Music rung in the season with the 94th Annual Vespers featuring KU Choirs, conducted by Paul Tucker and Mariana Farah (pictured left), and the KU Symphony Orchestra, conducted by Carolyn Watson, at the Lied Center of Kansas. 4 JAYHAWKS ON THE MOVE Each year students and faculty at the KU School of Music have the opportunity to travel around the globe to share their gifts of music with the world. Below are a few of the highlights from the 2018-2019 academic year.

1 Photo: Pablo Cabrera 4

5

1 - More than 50 members of the 2 KU Symphonic Chorus, directed by Paul Tucker, traveled to California in June to perform with the University of California, Irvine Symphony Orchestra, conducted by Tucker’s twin brother, Stephen Tucker. The ensembles came together for a joint performance and recording of the world premiere of Bernard Gilmore’s Journey to Freedom and Forrest 6 Pierce’s Mirror Cantata at the Soka Performing Arts Center in Aliso Viejo, California. Tenor Genaro Méndez, associate professor of voice, was among the featured vocalists. 3

2-3 - March Madness descended upon the KU Men’s Basketball Band as it traveled to Salt Lake City for the NCAA tournament. The group discovered among the perks of advancing to the second round of the tournament was the chance to the hit the slopes at Alta, one of Utah’s famous ski resorts. 7

4 - Current and former students had the opportunity to visit Lawrence’s city sister Eutin, Germany, in May. The group performed in the annual Classical Beats Music Festival. Pictured left to right are Murphy Smith, Hilary Lowery, Alex Frank and Lianna Bartlett.

5 - On June 1, the 12-member KU Tuba-Euphonium Consort, conducted by Scott Watson, had the opportunity to perform at the International Tuba Euphonium Conference at the University of Iowa in Iowa City, Iowa.

6-7 - In February for the 9th Annual Scholarship Concert, four students from the Giuseppe Verdi Conservatory of Music in Milan, Italy, performed with the KU Symphony Orchestra. They were Simone Seriani, Elisa Bisetto, Davide Scalese Civati, and Martina Motta. Their visit was made possible through the generous support of Reach Out Kansas, Inc. Several months later, Dean Robert Walzel and faculty members Daniel Velasco, David Colwell and Boris Vayner (pictured right) traveled to Milan as part of the ongoing exchange program. The group performed in concert alongside the conservatory’s faculty. 5 * Photos submitted unless otherwise noted. RELATIONSHIPS WITH CHINESE MUSIC INSTITUTIONS CONTINUE TO GROW

ith membership place among the leading international Over the past few years, the KU in a global music schools working to promote the School of Music and Shanghai Normal Wmusic education highest standards of excellence and University, a major public university organization and a new achievement,” KU School of Music in one of the largest cities in the world, partnership with Shanghai Dean Robert Walzel said. have built a fruitful relationship. Scott Normal University, the During the past academic year, McBride Smith, the Cordelia Brown KU School of Music the School of Music also formalized Murphy Professor of Piano Pedagogy at continues to strengthen its an agreement with Shanghai Normal KU, is a visiting professor at Shanghai relationships with Chinese University, creating a program for Normal University. music institutions. fourth-year students at Shanghai “Shanghai Normal University Scott McBride Smith In December, the school Normal to come to KU to earn a is a highly-ranked teacher training was invited to join the Global Music master’s degree. Currently the program institution in China, as well as having Education League, a non-governmental, is centered on piano students, but one of the top-ranked schools of non-profit academic organization that has potential to expand to other music. Working together will help was established in 2017 to increase performance areas. us take another big step in building coordination among international “We see this as an opportunity to an innovative and internationally music education institutions. expand our footprint in a part of the recognized pedagogy program,” The organization, which was world where the study of classical music McBride Smith said. inspired by and headquartered at the is flourishing,” Walzel said. “This will McBride Smith is a recognized China Conservatory of Music in Beijing, be attractive to Chinese piano students leader in worldwide music education includes more than 30 world-class and teachers and will lead to high-level and is currently president of the Music music institutions from 14 countries students pursuing advanced graduate Teachers National Association of the in North America, Europe, Asia and work at KU. United States, an organization that is Australia. School of Music membership Beginning in the fall, faculty at also working to establish connections is alongside other top international Shanghai Normal University, with the with music programs throughout China. music schools, such as Stanford assistance of KU faculty, will recruit and In recent years, four KU School of University, Peabody Institute at John audition first-year students in China to Music doctoral graduates have received Hopkins University, Northwestern participate in the program. Following faculty positions at prestigious Chinese University, Eastman School of Music, successful completion of their third universities and conservatories. Oberlin Conservatory, Berklee College academic year, these students will Those schools include Hainan of Music, Cleveland Institute, China qualify for enrollment in graduate-level University, Guangzhou University, Conservatory of Music, Sydney courses at the KU School of Music. The Chengdu University and the Wuhan Conservatory of Music and Sibelius students will then study one year at KU Conservatory. Academy at the University of the Arts to complete their undergraduate degree ■ Christine Metz Howard Helsinki. from Shanghai Normal University and “Membership in the Global Music study a second year at KU to earn a Education League gives us a prominent Master of Music degree.

6 KU Jazz Ensemble I, under the direction of Robert Foster, gave its first concert in Swarthout Recital Hall sometime in the mid 1970s. The concert featured guest artist Gary Foster, a top Los Angeles studio musician who was among those forbidden to play jazz in Murphy Hall when he attended KU a little more than a decade before.

JAZZ AT KU: From underground to around the world

azz had a rough start at the University of under the direction of Dan Gailey, as the best school levels, said without jazz KU’s program Kansas. graduate college large jazz ensemble in the would be unbalanced. J In a 1913 article in the University country. “It was something that I believed was an Daily Kansan, Director of Bands J.C. It was the 27th DownBeat award KU important component of a really good band McCanles claimed that “ragtime is waning” has won since Gailey took over the jazz education,” Foster said. “Particularly, if you and thought the public no longer wanted to studies program in 1990. Along with an are working with young musicians. If they are hear that “jingle-jangle music.” Seven years impressive number of DownBeat awards, the going to function in the real world today, they later, another article in the Kansan noted that program has produced great educators and have to be able to play everything. The people Harold L. Butler, dean of the School of Fine performers, sent students around the world, who are great at everything, including jazz, get Arts, blamed jazz for the “undesirable dances and brought in legendary jazz musicians, all the top jobs.” prevalent of late,” and that jazz “has no real while championing new music. When Foster started his role as the musical qualities and it appeals only to the “I think it is one of the top jazz programs director of bands, KU had one orchestra, two lowest feelings.” He too predicted a quick in the nation,” said Robert Foster, the concert bands, an open-admission band and end to the music genre, all according to the longtime director of bands who launched the the marching band. By the spring of 1972, the book Music & Dance at KU: A History of Two jazz program shortly after he came to KU first jazz band began rehearsing. The band Performing Arts at the University of Kansas. in 1971. “We started from no jazz program was easily filled by students who had been Yet, jazz persisted. So much so that in to a baby jazz program, to a pretty good playing jazz behind the scenes and undercover the 1950s and 1960s, Dean Thomas Gorton program, to a real good program, to a great for years. The musicians met in Bailey Hall, refused to allow jazz to be played in the jazz program.” carrying instruments up the hill from practice rooms of Strong Hall, where the music Murphy Hall. department was housed, and then later in the ‘AN IMPORTANT COMPONENT’ The following year, Foster started a newly built Murphy Hall. But that did not stop Prior to Foster’s arrival, several faculty second band, which was directed by then grad the musicians from practicing underground in members resented that jazz had not yet been student James Barnes, who would go on to the basement of Bailey Hall or from forming incorporated into the music department. become the KU assistant director of bands, jazz bands to perform at fraternity dances and During his job interview, with Gorton and a third band, which was conducted by local clubs. present, Foster was asked for his thoughts on David Bushouse, professor of horn. Flash forward 50 years and the KU School the lack of a jazz program. As the level of musicianship grew, the of Music has developed a top jazz studies Foster, who had overseen the jazz band began performing at the Kansas Union program, a fact illustrated in April when program at the University of Florida as well and around campus. But it wasn’t until the mid DownBeat named the KU Jazz Ensemble I, as taught jazz at the middle school and high 1970s that Jazz Ensemble I, under Foster’s 7 direction, gave its first concert in Swarthout jazz and soon took Recital Hall. The concert featured guest over Jazz Ensemble artist Gary Foster, a top Los Angeles studio II. Just as he was Ron McCurdy, left, came to KU in 1976 as a young graduate assistant. By the time he left in 1990, McCurdy had turned a budding jazz program musician, who was among those forbidden to starting to grow into a strong and vibrant one that had performed in Europe, national play jazz in Murphy Hall when he attended comfortable with conferences and jazz festivals. KU a little more than a decade before. the brass, wind and “People thought it was just wonderful,” saxophone sections, brink of doing great things: Take Six before Robert Foster said of the concert, and shortly McCurdy encountered jazz education guru they were famous and Bobby McFerrin before afterward the jazz ensemble began playing in Jamey Aebersold, who was a guest artist at the Don’t Worry Be Happy,” McCurdy said. “It was jazz festivals and even had a glowing review in Winfield (Kansas) Jazz Festival. McCurdy, a magical time.” the Kansas City Star when it performed in the with a fair amount of confidence, asked KU Medical Center auditorium. Aebersold how he sounded. Aebersold told In 1990, McCurdy left KU to become him to come to his jazz camp to learn how the director of jazz studies at the University of Minnesota, but not before providing one ‘A MAGICAL TIME’ to play. “And he was right,” McCurdy said. “I more lasting contribution to the program. In 1976, Foster handed over the top He encouraged Gailey, who was finishing jazz ensemble to Barnes. The same year, he went the next ten years in a row and became a sponge. I learned how to play and teach, and his master’s degree from the University of brought on a young graduate assistant and Northern Colorado, to apply for the position. recent Florida A&M alumnus Ron McCurdy. brought it back to KU.” From there, McCurdy said, Foster gave McCurdy heard jazz and many other ‘NEVER BEEN BETTER’ genres while growing up in a music-loving him the “keys to the Ferrari,” as he took over Arriving in Lawrence on a 100-degree day, home, but spent his time at Florida A&M the program, which grew to two jazz bands, having only traveled east of Colorado once writing drills for marching band and arranging two combos, a vocal jazz group and classes. By before, and with two other job offers already band music. the time McCurdy finished his PhD in 1983, on the table, Gailey was unsure of committing Looking for a way to be useful as a new the jazz program had come into its own— to KU when he came for his interview. graduate student, McCurdy joined Jazz winning festivals, traveling on European tours, “Then I started meeting people, I saw the Ensemble I. performing at the International Association of Jazz Educators (IAJE) national conference, campus and I saw what was possible. Within “We were wonderful musicians, but we and bringing in top artists for the relatively an hour, I knew this was the gig I wanted,” didn’t have a strong concept of jazz, including new KU Jazz Festival. Gailey said. myself,” McCurdy said. “I would find these guest artists on the continue page 9 From there, McCurdy began studying 8 Thanks to the support of Reach Out Kansas, Inc., the KU Jazz Studies Program has been able to travel to Europe and perform in world-class venues. In 2016, the group gave a concert at Jazz at Lincoln Center with famed jazz vocalist Deborah Brown. Photo: Dan Storey/KUAA

Gailey inherited a strong and vibrant program from McCurdy, told everyone about this band in Kansas. The word got out that this was but one with room for growth. No scholarship money existed for a serious program doing things that most other Midwestern college jazz students and Gailey had to “beg, borrow and steal” students for programs weren’t doing.” his rhythm section. Gailey worked to divert more resources to jazz The program saw another turning point during the 2000s, when and by 1992, the program received its first two DownBeat awards Gailey was able to bring-on teaching adjuncts to assist with the under his leadership. Along with the recognition in 1992, the jazz increasing load of conducting the top two big bands, vocal group and ensemble earned outstanding performance awards in ‘94 and ‘97. three combos, while still teaching academic classes. The added adjunct “Boom, we were off and running,” Gailey said. faculty shared Gailey’s vision on the importance of new music. Among A highlight in Gailey’s early years came in 1993, when Gailey the most visible jazz musicians in Kansas City, the faculty also infused invited the up-and-coming jazz composer and jazz orchestra leader the program with the city’s historic and vibrant jazz scene. Maria Schneider to perform in Jazz Ensemble I’s first concert at Today, along with Gailey, the jazz studies faculty include Matt Otto, the Lied Center. Schneider had been the assistant and copyist to assistant director and saxophone/improvisation; Brandon Draper, the great jazz orchestrator Gil Evans and agreed to bring his music, drums; Jeff Harshbarger, bass; and T.J. Martley, piano. which was difficult to acquire at that time. As the program grew, so did the reach of its performances. During Conducted by Schneider, the band performed a three-and-half- the ‘90s, jazz ensembles performed at IAJE conferences in Miami, hour concert. The first half was nine works by Evans and the second Boston, Atlanta and New York. Through the support of Reach Out half Schneider’s entire, yet-to-be-released first album. Kansas, Inc, a non-profit organization established by Jim Zakoura to “That is a Herculean undertaking for any college band,” Gailey support the arts, the jazz studies program went global. said. “Maria went away from the performance on cloud nine and In 2008, 2014 and 2018, Jazz Ensemble I went on European tours, appearing at the world-famous Montreux International Jazz Festival among other venues. In 2016, the group performed at Jazz at Lincoln Center with famed jazz vocalist Deborah Brown. In 2018, it traveled with the KU Wind Ensemble to Washington, D.C. for the joint performance of the world premiere of Kevin Walczyk’s Freedom From Fear at the Kennedy Center. The concert also featured Palos Nuevos: The Jazz/ Flamenco Project, which was composed by Gailey and choregraphed by Michelle Heffner Hayes, professor of dance. “The support of Reach Out Kansas has been immense and helped us take the program to the next level these past few years. Those are life- changing experiences for our students,” Gailey said.

Photo: Andy White/KU Marketing and Communications Jazz Ensemble I also was one of six college big bands to be selected in 2017 and 2019 to perform at Monterey Jazz Festival’s Next Generation Festival in California. In 2018, KU Jazz Ensemble I traveled with the KU Wind Ensemble to Washington, D.C. for the joint performance of the As high school jazz programs grow stronger, so do the students world premiere of Kevin Walczyk’s Freedom From Fear at the arriving to KU’s jazz studies program, Gailey said, disproving the Kennedy Center. The concert also featured Palos Nuevos: The century-old prediction from KU faculty that jazz was on the way out. Jazz/Flamenco Project, which was composed by Gailey and choregraphed by Michelle Heffner Hayes, professor of dance. “The program has never been better than it is now,” said Foster, the man who started it 47 years ago. ■ Christine Metz Howard 9 NOTABLE JAZZ ALUMNI:

• Reginal Buckner, BME ’61 and MME ’66, was a professor of music and jazz education at the University of Minnesota. • Bill Booth, BME ’66, joined the renowned USAF Airman of Note after graduation and before becoming one of the top trombonists in Las Vegas. He is the principle trombonist with the Los Angeles Opera, Hollywood Bowl Orchestra and Pasadena Symphony, as well as a top LA studio musician, having performed with legendary composer John Williams and on more than 1,200 motion pictures. He is a faculty member at University of California, Santa Barbara. • Tina Claussen, DMA ‘03, is an associate professor of music in saxophone and jazz studies at Drury University in Springfield, Missouri. • Nathan Davis, BME ’60, was a saxophonist who performed with Kenny Drake, Dizzy Gillespie, Don Byrd and Eric Dolphy. He founded and directed the jazz studies program at the University of Pittsburgh. • Gary Foster, BM ’59 in clarinet and BME ‘ 61, has worked with the Grammy-nominated Toshiko Akiyoshi/Lew Tabackin big band. As a Los Angeles studio musician, he has played alto sax with such musicians as Frank Zappa, Louis Bellson, and Bob Dylan. • Paul Haar, BM ’94 and MM ’96, is a professor of saxophone and director of jazz studies at the University of Nebraska at Lincoln. • Marqueal Jordan, BS in business ‘94, is a professional saxophonist in Chicago. He tours and records with smooth jazz star Brian Culbertson. • Carmell Jones, BME ’62, was a trumpeter who worked with Nathan Davis, Cleanhead Vinson and Frank Smith, as well as a studio musician in California. He lived in Germany for 15 years, working with Paul Kuhn and the SFB Big Band and performed extensively in Kansas City. • Nate Jorgensen, DMA ’10, is a professor of saxophone and the director of jazz studies at the University of New Hampshire. • David von Kampen, DMA, ’14, is a lecturer of music theory and literature at the University of Nebraska-Lincoln, where he directs the UNL Vocal Jazz Ensemble. While a student at KU, von Kampen won six DownBeat awards. • Andrew Linn, BM in trumpet ’10, is a successful composer, performer and producer in the New York City area. His notable clients have included New Balance Team, Glamsquad, Postmaster Art Gallery and Thankful.org. • Kerry Marsh, BME ’00, is the former director of vocal jazz at the University of Northern Colorado and has worked with Ben Folds as a vocal arranger and background singers director in numerous performances with major symphony orchestras. • Daniel O’Brien, who was a student at KU, is a trumpeter who has toured with the Maria Schneider Orchestra.

• Nick Weiser, BM in piano ‘08, is the director of jazz studies at SUNY Fredonia.

Over the past 42 years, the KU Jazz Festival has brought in world-class musicians. Among the highlights was 1996, when the festival featured legendary jazz composer KU JAZZ FESTI VA L and pianist Toshiko Akiyoshi, pictured left, and jazz vocalists Kevin Mahogany, Guest Artists Highlights pictured right with Dan Gailey, and Lisa Henry, as well as the Grammy-winning Bela Fleck and the Flecktones.

1991 and 2006 - Peter Erskine

1994 - Dave Brubeck Quartet

1995 - Dianne Reeves Quintet

1996 - Toshiko Akiyoshi

1998 - Maria Schneider (again in 2002) and Ingrid Jensen (again in 2005)

1998 - Michael Brecker Quartet

1999 and 2014 - Dave Douglas Emerson Wally Photos:

2011 - Christian McBride

2010 - Kenny Garrett Quartet

2013 - Kurt Rosenwinkel 10 Students in the Spotlight KU STUDENT EARNS TOP AWARDS IN INTERNATIONAL ORGAN COMPETITIONS

yler Boehmer’s success at international organ competitions took competition. Each semi-finalist was required to submit a 25-minute him around the world during the 2018-2019 school year as he final program recording. Boehmer was then one of three finalists Tcompeted in France, Australia, Russia and the United States. chosen to come to Miami and compete in the final round, which was an In February Boehmer, a doctoral student in organ and church evening recital on Feb. 22 performed in front of an audience of more music performance, won first place at the Miami International Organ than 300 people at the Church of the Epiphany. The contestants also Competition. Earlier in the school year, he earned second place at the performed in front of a panel of judges who sat behind a screen so Sydney International Organ Competition in Australia and advanced they couldn’t see the finalists. Boehmer’s program included the first to the quarter finals in the Grand Prix de Chartes International movement of Max Reger’s Second Organ Sonata, a piece based on a Competition in France. He also went on a five-city concert tour in Gregorian chant, Jean Langlais’ Ave Maria, Ave Maris Stella, the third Russia as part of a special prize he won at the Tariverdiev International movement of Johann Sebastian Bach’s church cantata Allein Gott in Organ Competition in 2017. der Höh sei’ Ehr (Keep Jesus Christ in mind) and Vers l’espérance from “Tyler is extremely musical and his playing communicates with Poémes by Thierry Escaich. audiences in an exceptional way,” said James Higdon, the Dane and “I was in shock,” Boehmer said of winning first prize. “I come from Polly Bales Professor of Organ with whom Boehmer studies. “His a very small town in Alberta, Canada. I’ve grown up watching these consistent inclusion in the world’s most prestigious international other up-and-coming organists, and now to stand among them is just competitions and his many prizes certainly confirm that he is one of surreal.” the leading talents in our field today. He will most definitely continue to Before his performance in Miami, Boehmer had seen other enjoy an enviable career.” successes internationally. In August he was a quarter-finalist in the Boehmer was one of three finalists to compete in the Miami Grand Prix de Chartes International Competition in France. At the International Organ Competition, which is sponsored by Fratelli end of September, he was one of three finalists to compete in the Ruffatti, renowned organ builders from Padua, Italy, and Church of the Sydney International Organ Competition in the Great Hall at the Epiphany in Miami. The competition aims to encourage and recognize University of Sydney in Australia. Boehmer placed second overall and talented young organists from around the world. was awarded the special prize for outstanding performance of a work Out of more than 30 submitted recordings, Boehmer was one by an Australian composer. of eight organists selected to advance to the semi-final round of the In November Boehmer had the opportunity to travel on a five-city concert tour that was part of a special prize he won at the Tariverdiev International Organ Competition in 2017. The Russian tour took him from Moscow to Kransodar, three hours south of Moscow by car, then across four time zones to Siberia to the cities of Tomsk and Krasnoyarsk. From there, Boehmer took a 33- hour train ride west to Chelyabinsk. “Each competition was an opportunity to get outside my comfort zone and experience a new culture,” Boehmer said. Originally from Cardston, a small town in southwest Alberta, Canada, Boehmer earned his master’s degree in organ and church music from KU and received his undergraduate degree from Brigham Young University. Along with his studies at KU, Boehmer is the organist at the First United Methodist Church of Leavenworth. Boehmer’s experiences abroad continued in the spring semester with a study abroad program in Bremen, Germany, the heart of a historical center for European organ music. Over the summer Boehmer traveled to England for the St. Albans International Organ Festival. “Tyler is a wonderful ambassador all over the world for The University of Kansas,” Higdon said. 11 ■ Christine Metz Howard Students in the Spotlight PRESSER SCHOLAR PURSUES PASSION FOR MUSIC AND MEDICINE

enior Alice Kirsch hopes to do what many have told her couldn’t be done: Scomplete two restrictive degree tracts in music education and pre-med in four years. It’s a goal that has meant taking classes over winter and summer breaks, carrying huge credit loads Photo: Christine Metz Howard Metz Christine Photo: during the fall and spring semesters, and going with little sleep. If successful, Kirsch, who is from Marion, Iowa, would be the first KU School of Music student to complete both degrees simultaneously. “To be able to do that in four years and to be the first one to do it when people said it couldn’t be done, that is an amazing accomplishment,” said Paul Stevens, professor of horn, with whom Kirsch studies. Along with completing the coursework, Kirsch, who plays the French horn, performs in numerous ensembles at KU, including the symphony orchestra, wind ensemble, horn ensemble and an award-winning horn quartet. She also spends her weekends working overnight as a CNA taking care of dementia patients at a skilled nursing and assisted living facility. “She always comes through in those clutch situations and she likes to be challenged. I think that sums her up in one sentence,” Stevens said. This February Kirsch was recognized as the 2019 Presser Scholar, one of the most prestigious undergraduate awards. Each year, KU School of Music faculty choose a worthy junior who displays excellence in the field. “She is a great student, a great musician and a great person who has contributed to the School of Music in so many ways,” Stevens said At an early age, Kirsch decided to become a doctor when she learned about Doctors Without Borders, an international humanitarian medical organization. After connecting with meaningful mentors in high school, she also wanted to continue her studies in music. “I didn’t know that I wanted music to be a permanent part of my life until I got to high school. I just grew a lot as a person through the people I met and the experiences I had. I realized this was something that I never wanted to let go,” Kirsch said. Kirsch is pursuing a music education degree to learn about both the pedagogical and performance aspects. One of the highlights of her time at KU has been participating as a music mentor through the KU Center for Community Outreach, which provides the opportunity for KU student musicians to give free lessons to high school and middle school students who are unable to afford them. Along with instructing students on the trumpet, Kirsch works as the program coordinator, connecting with parents and band directors in the community in order to match students. “When I was that age, I wasn’t able to afford music lessons and would have done anything to have an opportunity to be in that situation. So, I am just so happy to give back now that I have the opportunity to do so,” Kirsch said. During her three years at KU, Kirsch also had a successful performance career. In 2018, she had the opportunity to travel to Washington, D.C. with the KU Wind Ensemble for the world premiere of Kevin Walczyk’s “Freedom from Fear” at the Kennedy Center. In the fall she performed in a concert commemorating the 100th Anniversary of World War I with the KU Symphony Orchestra at the Kauffman Center in Kansas City, Missouri. She’s also a member of a horn quartet that has placed well in national competitions. Even while juggling her many commitments, Stevens said Kirsch never shrinks away from difficult French horn lessons. “A lot of people with her stress level would try to back off their private lessons and she doesn’t do that. She looks for pieces that will push her. And she does a fantastic job every time,” Stevens said. Someday, Kirsch hopes all her hard work will mean she’s an anesthesiologist who has her own French horn studio and performs in her free time. “I’m still working out how to combine the two,” she said of her passion for music and medicine.

■ Christine Metz Howard 12 AN AMBASSADOR FOR MUSIC: AFGHAN TRUMPETER SHARES HIS INCREDIBLE JOURNEY TO KU

Photo: Andy White/KU Marketing and Communications n 2016, Steve Leisring, professor of trumpet, was recruiting “I was here for a few days, and I wasn’t really sure about KU. Ahmad Basset Azizi, then a senior at Michigan’s Interlochen Arts Then, the last day I was here, I had a good lesson with Mr. Leisring IAcademy, to KU. During one early conversation, Leisring shared and that changed my mind,” Azizi said. the recent accomplishments of KU alumnus and Colombian President After his visit, people across the university made a commitment to Juan Manuel Santos, who had just been awarded the Nobel Peace offer Azizi a scholarship, allowing him the opportunity to attend KU. Prize for his efforts to end a 50-year civil war in his country. Entering into his junior year, Azizi has made great progress since Azizi replied that perhaps he would be KU’s next Nobel Peace coming to KU, Leisring said. Prize winner. “To do any instrument seriously it takes so much more than “Right then I knew he was a pretty special young man,” Leisring talent. It is hard work and dedication as well. And he has found all said. “I just thought that was pretty astounding.” three,” Leisring said. Azizi and his journey to KU is nothing short of astounding. Among the highlights was a nomination by the principal Azizi grew up in Kabul, Afghanistan, where he was the oldest trumpeter of the Berlin Philharmonic to audition for a position at and only son in a family of four children. From a young age, Azizi was the Barenboim-Said Academy in Germany, which is led by the great always singing, so much so that his neighbors would good naturedly conductor Daniel Barenboim. Azizi was one of four trumpeters tease him. When he reached middle school age, he was accepted into selected to audition. Unfortunately, because of visa restrictions, he the Afghanistan National Institute of Music, a school that instructs in couldn’t travel to Berlin for the live audition. Afghan and Western music. Travel restrictions continue to be a struggle for Azizi. For In seventh grade Azizi’s attention turned from singing to three years, he hasn’t seen his family in Afghanistan, where suicide instruments, when he was introduced to the trumpet. It was an bombings, attacks on civilians, kidnapping and killings by the Taliban introduction that marked the first time he saw the instrument. At first, and terrorists he wanted to pick an instrument he had seen before, something “fun,” are a part of such as the piano, guitar or drums. But after two weeks, he learned a everyday life. He “I was good in few notes on the trumpet and was hooked. also is concerned “I thought ‘this is an interesting beautiful sound, I think I can do about the lack of this,’” Azizi said. “I started playing and people encouraged me.” opportunities for Afghanistan, but I wanted Azizi was a quick study, earning first chair in his school’s the women in his ensembles and performing at functions attended by ambassadors and family. presidents. But being a musician in Afghanistan can be dangerous and “He takes to be a professional draw unwanted attention from the Taliban, whose laws forbid playing everything in music and musical instruments. stride, but I know musician where I could Unfortunately, Azizi’s first teacher left, as did the one who came there are times after him. Meanwhile, Azizi wanted to expand his musical horizons. that he comes in “I was good in Afghanistan, but I wanted to be a professional and he has seen play everywhere,” musician where I could play everywhere,” Azizi said. the news that there has been a While online listening to trumpet recordings, he came across - Ahmad Basset Azizi David Bilger, principal trumpet for The Philadelphia Orchestra bombing in his home city and he “I listened to a clip and thought this is a beautiful sound. And, I is constantly worried about his family. He deals with that every day. watched a few more videos and thought this is awesome, I knew he He stays up late at night communicating with his folks. So, there are was a good trumpet player,” Azizi said. a lot of things in the background that don’t happen to other students Azizi wrote Bilger a Facebook message, introducing himself as that he is dealing with,” Leisring said. the best trumpet player in Afghanistan (also noting that he was only A GoFundMe campaign was established in 2019 to help Azizi’s one of two trumpet players in the country) and asked for lessons. It family travel outside of Afghanistan and is nearing completion. caught Bilger’s attention and he responded 12 hours later. From there, the two began conducting lessons over Skype. To adjust for the time “When you don’t see your parents for three years, it is difficult,” difference, the lessons were held at 11 p.m. in Philadelphia and 6 a.m. Azizi said. “And I think it is more difficult for them. I was their only in Kabul. son and I just left. For me I have a lot of things to do. I study, go to classes, practice, and much more, but for them nothing has changed A year into the lessons, Azizi began thinking of opportunities in life. So, it is very difficult for them. But we will hopefully try to work to play music outside of Afghanistan. Bilger focused on coaching something out and see each other sometime soon.” Azizi for auditioning at Interlochen and used his connections to pull together resources to help him. Although Azizi earned a scholarship Throughout Azizi’s journey, support and interest have poured in to Interlochen, more assistance was needed. A growing group of from around the world. Azizi has been featured on the CBS Evening worldwide supporters backed a fundraising campaign on the website News, Voice of America and among GoFundMe’s highlighted causes. GoFundMe for Azizi’s travel and living costs and assisted with Leisring said Azizi has friends and supporters from all around acquiring the necessary paperwork for him to come to the United the world. He pointed to a group of Afghans, with whom Azizi had States on a student visa. connected but never spoken to, who came to see him in Washington, Leisring, who is acquainted with Bilger and was familiar D.C. when the KU Wind Ensemble performed at the Kennedy Center with Azizi’s story, reached out to Azizi shortly after his arrival at in 2018. Interlochen. Azizi expressed interest in KU, even though he knew little “He communicates with people. He seems like such a thoughtful about Leisring or Kansas. young man and that is exactly what he is,” Leisring said. “He would be Thanks to the support of Reach Out Kansas, Inc., Azizi had the a fantastic ambassador.” opportunity to visit KU during the Prairie Winds Festival. The visit ■ Christine Metz Howard also provided an opportunity to audition. 14 PROFESSOR RECOGNIZED FOR LASTING INFLUENCE

n Debra KU faculty member to be recognized. She shared information about her Hedden’s In a letter of recommendation to classroom management methods and Ofirst KMEA, School of Music Dean Robert ways of teaching music, as well as how day of teaching Walzel noted Hedden’s extraordinary to use materials in classroom lessons. general music, work to prepare students to become In return, she learned new aspects of she had three music teachers, including placing pedagogy, especially from watching one-hour first- student teachers in classrooms for several choral teachers in the singing grade classes. In preservice training. schools and a university professor, who the first, a child “The difference she has made in was an improvisation teacher. got a bloody the lives and education of the hundreds “I watched him take music majors nose; in the of students she has taught is truly in the beginning of the year who were second a student remarkable,” Walzel wrote. “She has very nervous about doing anything fell and hit his in so many ways contributed to the with improvisation; and he would head; and in the profession of teaching music in the start with very simple rhythmic tasks third a first- public schools of our state.” where they would clap or tap different grader got up, When Hedden arrived at KU, there rhythms. By the end of the year, they walked out of the wasn’t a faculty member who focused were creating rock operas on the spot classroom, and on teaching general music, therefore with their instruments and voices. It told her he was students embarking on teaching careers was amazing,” Hedden said. quitting class. weren’t all that interested in doing so. Her fourth research article on her “I was walking right behind him, “One of the things I was able findings from Lithuania was published thinking ‘I’m quitting too. I can’t do this to bring to the program was a love this summer. job,’” Hedden said. for general music teaching and the Hedden ended her time at KU Luckily for the thousands of importance of teaching every child in with one more accolade. During the students who followed that challenging the elementary school to participate in KU School of Music Recognition first day, Hedden didn’t. Instead, music so that they take away musical Ceremony, she was recognized with she developed techniques for better skills for life-long learning. It’s been the school’s Outstanding Teacher managing classrooms. She has passed on great fun to see how many general Award. that knowledge in legendary university music teachers KU has produced over Heading into retirement, Hedden courses she has taught as professor and the years. That puts a huge smile on my said she’ll miss the classroom and director of music education at KU. face.” students the most. “I want our music education In her nomination letter for “The biggest highlight has been students to go out and be successful Hedden’s induction into the Hall getting to work with the students,” in the classroom, and the first caveat of Fame, Jennifer Potter, who was Hedden said. “It is what I do best in for that is to have good classroom Hedden's student as an undergraduate life. To see them bloom and grow is the management before you can teach them and graduate, wrote that many students best part of the job.” anything. The music comes second,” have taken positions as elementary Hedden said. general music teachers because of ■ Christine Metz Howard After 46 years of teaching – 20 Hedden’s coursework. years as a general music teacher in Iowa “Her students leave the music public schools, followed by chairing education program at the University music education at the University of of Kansas as the most well-prepared, Northern Iowa and then teaching at KU confident and compassionate preservice since 2003 - Hedden retired at the end teachers in Kansas,” Potter wrote. “Dr. of the academic year. Hedden’s zeal for teaching future music In an already distinguished career, educators, combined with her never- Hedden earned one more accolade in ending warmth and support for her the spring semester as she was inducted students, is unmatched.” into the Kansas Music Educators Along with bringing a passion for Association’s Hall of Fame in February general music to the program, Hedden during the annual KMEA In-Service founded the KU Youth Chorus, won Workshop in Wichita. two Fulbright awards to study music The Hall of Fame is KMEA’s teaching methods in Lithuania, and highest honor and is given to members received the Byron T. Shutz Award for of the music education community in Excellence in Teaching, annually given Kansas who have made a significant to one KU faculty member. contribution to the growth of music As part of the Fulbright awards, in the state. The KMEA Hall of Fame Hedden has traveled to Lithuania five began in 1975, and Hedden is the 11th times to teach and conduct research. 15 NOTRE DAME ORGANIST OLIVIER LATRY NAMED WILLIAM T. KEMPER ARTIST-IN-RESIDENCE AT KU

he world’s premier organist has an enviable culture in the arts that relationship with KU and our organ Olivier Latry has been named extends to the organ and its literature, program,” Higdon said. Ta William T. Kemper Artist-in- and his presence will enrich the entire In 1985 at the age of 23, Latry won Residence at the University of Kansas region.” the competition to become one of the School of Music, beginning this fall. Latry’s plans to visit in November. three titular organists of Notre Dame, Latry is one of three organists at During that time, he will perform a making him the youngest Notre Dame the Cathedral of Notre Dame in Paris benefit concert at Grace and Holy organist in the modern era. In 1995 and is professor of organ at the Paris Trinity Cathedral in Kansas City, he was appointed professor of organ Conservatory of Music. He performs Missouri, with proceeds going to Notre at the Paris Conservatory, where he more than 100 concerts a year and Dame employees who have lost their continues to teach alongside Michael has given concerts in more than 50 jobs because of April's devastating fire Bouvard. He is also organist emeritus countries on five continents. at the cathedral. with the Montreal Symphony Orchestra This is the first time Latry has held Latry’s appointment is the result of in Canada. an academic position outside of France. a decades-long relationship that began Along with performing every three As part of the appointment, Latry will when he visited the KU School of Music weeks at Notre Dame, Latry maintains visit the KU School of Music each in 1986 as the first stop on his inaugural a full schedule of concert performances, semester for three years, giving lessons, American tour. Since his first visit, appearing regularly as a soloist at master classes and concerts as part of Latry has performed at KU six more prestigious venues and festivals, and his stay. Latry’s appointment is made times. During his last visit in October with leading orchestras around the possible through the William T. Kemper 2017, Latry was joined by Notre Dame’s world. Latry has recorded through the Foundation—Commerce Bank, Trustee. two other titular organists Phillippe BNL, Deutsche Grammophon and “The impact of Olivier Latry joining Lefebvre and Vincent Dubois as part of Naïve labels. His most recent recordings the faculty of the School of Music as the the 2017 American Guild of Organists include Bach to the Future, performed William T. Kemper Artist-in-Residence National Pedagogy Conference, which on the Cavaille-Coll instrument at cannot be overstated, as he will have was hosted by the KU School of Music’s Notre Dame and Trois Siècles d’Orgue an unparalleled connection with our Division of Organ and Church Music. Notre Dame de Paris, featuring music students,” said James Higdon, KU Dane “I welcomed Olivier Latry to KU in composed by past and current organists and Polly Bales Professor of Organ. 1986. In that first visit, we established a of Notre Dame. “The Greater Kansas City community strong personal bond and long-lasting ■ Christine Metz Howard

16 BLUES SCHOLAR DEBUNKS NOTION HOKUM WAS INAUTHENTIC ROMANTIC-ERA MUSIC LINKED TO REAL-LIFE ROMANTIC ENTANGLEMENT

here’s a juicy side of Joachim. Brahms wrote a letter doesn’t have that information, and psychological, to Amalie, supporting her side of things, the violinist never plays these triplets Teven romantic, stating his familiarity with Joachim’s anywhere in the concerto. It’s only the angle underlying personality and his propensity for cello part that has them. Scott Murphy’s suspicion. “So the cellist is given the mathematical analysis “This letter was intended to be notational truth, like Brahms is given of an important private. However, it came out, not only the truth of the situation about his Johannes Brahms in the court proceedings but also in friend; whereas Joachim, unfortunately, composition in the public. When Joachim learned of this, has less of a clear mind about this and is new book co-written he was enraged, and he and Brahms had more easily swayed by certain changes and edited by the a falling out.” in context.” professor of music Seven years later, in the latter Murphy argues that just as a single theory. stages of the Romantic period, Murphy musical note can be understood as a Murphy’s chapter said, Brahms wrote the double concerto D sharp or an E flat, depending on its in Brahms and the “as something of an olive branch that he context, so can the duration of a note Shaping of Time extended to his friend.” Brahms employs be understood in (2018, University of Rochester Press) Brahms wrote the work for two different ways, depending on its is titled “Durational Enharmonicism Joachim and the cellist Robert context. and the Opening of Brahms’ Double Hausmann. And while Brahms himself “So that’s how I apply the idea of Concerto.” The book is part of the played piano, Murphy said that in this enharmonicism in pitch to the idea of publisher’s Eastman Studies in Music analysis, the composer can be thought enharmonicism with duration,” he said. series, named for the New York of as the cello part. university’s renowned music school. In “It starts off with the orchestra,” ■ Rick Hellman addition to his editing tasks, Murphy Murphy said, “and then the cello contributed the book’s introduction and soloist comes in and plays one of its nine chapters. particularly three notes In his chapter, Murphy analyzes very low in the range, and the rhythmic patterns in Brahms’ so- the relation between what called “Double” Concerto in A Minor the orchestra and the cello for Violin and Cello, op. 102, finding plays is quite interesting meaning in them that reflects the rhythmically. personal struggles of the composer, his “We have a situation friend Joseph Joachim and Joachim’s where the cellist is coming estranged wife. in, and we can understand “Brahms had a friend, Joseph its varied durations in one Joachim, who was one of the leading of two different ways. In the violinists of the 19th-century and book chapter, I connect that also something of a composer,” then to the biographical idea Murphy said. “The two would trade behind the concerto, which compositions back and forth. They had is that we have this situation a friendship for decades until they got that can be understood in one into a domestic situation. of two very different ways. “Joachim’s wife, Amalie, was filing Depending on one’s context, for divorce, frustrated with the fact one has a certain perception that her husband thought her to be or understanding of a certain unfaithful, whereas she claimed that phenomenon. she had not been. Joachim was prone “I think it’s quite fitting to these flights of fancy, given even just that the violinist is not privy a little bit of context, to think that, for to the notation. The violinist example, ‘Oh, this publisher is having is still standing there, waiting an affair with my wife.’ So in the divorce to come in. It’s the cellist proceeding, Amalie turned to Brahms that is given these notes. It is to support her, because Brahms had given the notational truth, as known Joachim for years and knew this it were; however, the violinist

17 Blues Scholar Debunks Notion Hokum was Inauthentic

oberta Freund Schwartz is Schwartz said. “Seventy-five cents, said, leaders of Chicago’s black pushing back against the which is what a record cost, was not a intelligentsia “felt music based on FACULTY RESEARCH Rlong-held scholarly view that negligible amount in the 1920s. It’s not spirituals and good jazz, like Duke the early, bawdy Chicago blues style something to throw away frivolously. Ellington’s … was of merit and would known as hokum was a corruption of You are not going to spend it on get white support and recognition. “authentic” Southern blues. something you don’t want. This notion They didn’t necessarily want this Rather, Schwartz, an associate that record companies dictated things double-entendre, countrified, rural professor of music, wrote in an article to artists; it’s completely the other way throwback music that often played on in the fall 2018 edition of the Journal around. They are actually pushing the African-American stereotypes. … So, of the Society for American Music direction. Who gets recorded; who are any embrace of blues is sort of a thumb that, while more sophisticated and the big stars? Those are the people in the eye, because the blues was really commercial than country blues, whose records sell. It’s a democracy.” the music of the lower and working hokum hits like It’s Tight Like That are In the article, Freund Schwartz classes.” themselves an authentic expression of a traces Georgia Tom and Tampa Red’s The research she undertook for genre she calls "city style." 1928 Vocalion recording of It’s Tight the article has continued, and she has In so doing, Freund Schwartz, Like That back to an older song (Papa begun work on a book on the larger city author of How Britain Got the Blues: Charlie Jackson’s 1925 Shake That style phenomenon. The Transmission and Reception of Thing) and outlines its popularity upon “There has never really been a American Blues Styles to the British its release, including the nearly two good name for blues that isn’t country Isles (Ashgate, 2007), is taking on dozen cover versions and imitations blues and isn’t what we would call no less a blues scholar than the late, that it quickly spawned. classic blues like Bessie Smith and Ma renowned folklorist and record Moreover, she situates the Rainey,” Freund Schwartz said, “but producer Alan Lomax. hokum craze within a larger musical there are these other artists that are In her article “How Blue Can phenomenon she calls the city style. It’s really hard to classify. They have been You Get? It’s Tight Like That and an outgrowth of the Great Migration too popularly oriented for hard-core the Hokum Blues,” Freund Schwartz of the early 20th century, in which blues scholars to be interested in, not quotes Lomax as asserting that over 1 million blacks fled Southern jazzy enough for jazz scholars to be recording executives of the era segregation and discrimination for the interested in, and not pop-oriented “encouraged their singers to produce North. enough for people writing about pop cheap ‘novelty’ blues, the sillier the In the article’s final section, Freund music to capture very much of it.” better,” which overshadowed “the Schwartz makes the point that hokum The book, she said, “will cover from poignant and often profound poesy of has its own authenticity. 1924 to 1941 or early 1942, when the the earlier country blues….” “Now you have a large nationwide recording strike began.” Lomax and others who held concentration of African-Americans this view, she writes, “suggest that who are developing an urban culture,” ■ Rick Hellman these songs, with their evocations of she said. “They don’t necessarily want vaudeville and the medicine show, to give up their folkways, their music sexual innuendo and rambunctious that was familiar, but they are more character, betrayed the meaning and sophisticated urbanites now. They realism of ‘true’ blues, and thus couldn’t don’t want to have it exactly the same have been the conscious choice of the way. They hear jazz, boogie-woogie, performers.” vaudeville music, and the city style Freund Schwartz has found, combines elements of all of these however, that this genre arose from the different kinds of music that are being African-American artists themselves, constantly swept north by the new was shepherded by a middle- waves of migrants into something that management layer of African-American fits their new image of themselves.” industry figures (studio musicians, Drilling down further, Freund A&R men, etc.), and was widely Schwartz writes that purveyors and accepted by the black community in fans of hokum were engaging in a sort Chicago and around the country. of “resistive discourse” against the “I am pushing back on this black status quo. commercialization argument,” Freund In the 1920s, Freund Schwartz 18 TROMBONE TRIO EXPANDS REPERTOIRE ON NEW RECORDING he trombone Kansas City Conservatory of Music and trombone trio. trio Drei Dance, was nearby in terms of geography, but “The two other movements were inspired TBones wants far out in terms of the contours of his music. by the toys, songs and good times he had to demonstrate the He is an angular modernist, renowned for his with her,” Davidson said. “You can hear Josie variety of sounds that incorporation of electronic sounds into semi- burbling away, laughing.” the deceptively simple classical concert music. The recording was the result of some brass instrument is “You hear us playing along with some cross-border cooperation in that a grant capable of making, prerecorded sounds he's done,” Davidson from the University of Missouri supported especially when tripled. Michael Davidson, said. “It’s really quite an interesting piece.” the commissions to the composers, while associate professor of trombone, is one of two Cheetham, on the other hand, has written KU chipped in with a faculty research tenor trombonists in the group that has just a scherzo for brass quintet that Davidson development grant to make the recording released its second CD, Of Hammered Gold says has become a modern standard of the at Swarthout (Emeritus Recordings, 2019). form. The piece he contributed to the new Recital Hall. Along with Davidson, the trio includes recording, Trialogue, is a technically difficult The tonmeister Mark Thompson of Northwestern State one that requires “a lot of double-tonguing,” (a designated set University of Louisiana and Timothy Howe Davidson said. of outside ears of the University of Missouri-Columbia. Marc Lys’ Trois à Troyes, a tribute to the who chooses the Thompson plays the bass trombone, while French city, finds “a cool little balance” among best take for the Davidson and Howe share lead lines. pop, rock, jazz and classical styles, Davidson recording) for the Their self-titled debut CD was released said. “The first movement features Tim on an CD was Davidson’s in 2016 on Sy Brandon’s Emeritus label. improvised solo over a walking bass line; the colleague Scott “We wanted to record some gems of the third movement begins with a single melodic Watson, longtime trombone-trio world on the first CD, as well line that we have a snippet of – the melody is KU professor of tuba as some new things,” Davidson said. passed between all three trombone parts, so and euphonium. After traveling and performing music coordination and timing is the challenge for KU’s Brock Babcock was recording engineer. from the first CD for a couple of years, us here; the fourth movement, Badinage, is In addition, Kelley is a graduate student Davidson said, the group commissioned five just a lyrical ballad.” at KU, studying under Davidson, while Seitz composers to create works for them this Tom Davis is one of two composers is an adjunct professor of music theory at time out: James Mobberley, Thomas Davis, featured on both of Drei Bones’ CDs, the University of Missouri. Paul Seitz, John Cheetham, PJ Kelley and other being early 20th-century Russian The deal with nonprofit Emeritus to Brandon. trombone pedagogue Vladislav Blazhevich. cover other associated costs (mechanical There is some original repertoire for “Tom Davis was one of the composers royalties, promotion, digital distribution) trombone trio, but not much. Davidson said, on our first CD,” Davidson said. “He and Tim and to release the CD came after winning a “the second CD was a project to commission, have a good relationship, so we went from competitive grant process. The group chose create and record more original music for there, essentially.” Emeritus founder Brandon’s Dry Bones trombone trio instrumentation.” Davidson said Davis’ Children’s Suite Fantasy, which Davidson called a variation Mobberley, the Curators’ Professor of began from setting three of his original piano on James Weldon Johnson’s spiritual “Dem Composition at the University of Missouri- works, lullabies for his granddaughter, for the Bones,” to close out the record. ■ Rick Hellman Margaret Marco Makes New Music for the Oboe or an oboe were made on campus, too, at Swarthout probably hadn't player, the Recital Hall, Bales Organ Recital Hall and the been performed Fmusic of the studios of Kansas Public Radio. in 300 years. So Baroque Period is a Despite critics who praise her tone and I brought some logical place to begin command of her instrument (she performs of the prints recording. That’s with the Kansas City Chamber Orchestra home to edit what Margaret and other groups), there’s no need for her to and record.” Marco, professor re-record the standard classical repertoire for In contrast, of oboe, did with her first solo CD in 2009, oboe at this point, Marco said. she said, her Hidden Gems: Oboe Sonatas of the French “The first CD consists of baroque oboe latest recording “is all new music.” However, Baroque. sonatas by little-known French composers,” Marco noted, the recordings are alike in In contrast, her new recording, Still Life, she said. “In the early 2000s, I got a grant to that they feature music that hadn't been features Marco and several fellow composer/ go to Paris and study the works that are in the previously recorded. performer faculty members in a Bibliothéque Nationale and found that there “I'm happy with the contribution — to be series of new works for solo and were hundreds of works for the oboe that able to present new pieces to the public and 19 chamber ensemble. The recordings weren't published and weren’t recorded and add beautiful, new music to the repertoire,” COMPOSER TRIES TO CAPTURE ‘THE MUSIC OF THE WORDS’ everal years ago, when “I had this sense of a vast field of stars,” Pierce said, “and he was supposed to be then I tried to figure out, ‘How do you get 24 singers to create Scomposing a work on a pointillistic field of texture over which some kind of timeless, commission, Forrest Pierce sweeping melody begins to move?’ came full stop. “And so, from there, it sort of builds itself up piece by piece, like “During a period an architect might design a building. You know of grief, I found myself that there's wall or facade or roof, but you're unable to compose,” said not thinking necessarily about every individual Pierce, professor of music brick in the wall as you are conceiving of it. So composition. “The work I had been attempting, a setting of St. Francis large structures, large gestures, large textures, FACULTY RESEARCH of Assisi's Cantico delle Creature, required too much praise … too much and then trying to figure out what are the presence for me in my hollow condition.” materials that go into that.” Instead, he said, “I found myself thinking of my homeland in the West A former pianist and cellist, Pierce has and the otherworldly wilderness embodied in the writing of Gary Snyder. composed nearly 200 works during his career, A poem from Snyder's collection Turtle Island called A Prayer to the Great 50 for voice, including operas, choral works and Family opened a window onto the same universe of beauty revealed by solo song cycles. St. Francis. Its words of simple gratitude became a kind of sutra for me, a Gratitude Sutra was his commission awarded for the 2012 discourse on the generous beauties that sustain us on this voyage around Barlow Prize in Composition given by the Barlow Endowment the sun.” for Music Composition at Brigham Young University. The prize The 13-minute choral work that emerged from his contemplation, requires each year’s winner to use a different instrumentation, and Gratitude Sutra, was recently released on CD by San Francisco- the year Pierce won. It was for a cappella choir. based Volti, a 16- to 24-member chamber choir. The recording of six “There's also a sectional quality to composing, in this piece compositions, most commissioned by Volti, is titled The Color of There, in particular, where it's almost like a series of rooms that you're Seen From Here (Innova Records, 2019). moving through, maybe in a gallery,” Pierce said. “I know that in In India’s literary tradition, a sutra is a text composed of a series of this particular room — the one that's about gratitude to plants — aphorisms. Pierce, who hails from eastern Washington, said he has long the character and the color, the texture and the structure of this been an avid poetry reader as well as a seeker of wisdom from Eastern unit is going to be very different from the one for gratitude to the spiritual traditions, and that Snyder’s poem simply came back up in his sun. How do they relate to each other across the long arc of the memory at the appropriate time. piece, and how do they abut each other in a way that sets off what's “What happens for me is the text speaks to me,” Pierce said of his really beautiful about both of them?” typical working method. “I look at the text. I internalize the poem. I Pierce said he’s pleased with how Gratitude Sutra came out. oftentimes will memorize the poem, and I'll let the music of the words form He’s glad he embraced the Snyder text when he did, although he’s their own patterns. Usually rhythms will come to mind, gestures will come since revisited St. Francis in subsequent choral works. to mind, or in the case of some of the texts in this poem, textures — the “It seemed to me to be a very humanistic expression of ways in which all of the different voices will be interacting with each other gratitude,” he said, “that we fulfill our unique place in the cosmos, to create a particular sonic texture." and everything that we encounter deserves our gratitude, For instance, Pierce said, in the last movement of Gratitude Sutra, regardless of source or origin, just for its self-sameness; just he was very inspired by this one line by Snyder: “Grandfather space, the for its uniqueness.” mind is his wife.” ■ Rick Hellman

Marco said. “And that's true about both While two of the pieces feature the a while, but I’ve never recorded a piece of this CDs. It just requires slightly different skills members of the flute, oboe and piano trio nature before. Kip’s is one of the only pieces to record music from basically the two Allegrésse – Lawrence-based flutist and written for oboe, percussion and computer.” bookends, chronologically speaking, of the KU alumna Annie Gnojek and KU music Furthermore, Marco said, Pierce’s Cathedral entire oboe repertoire.” lecturer Ellen Sommer on piano – Haaheim’s Grove calls for “the use of extended techniques.” For the new CD, Marco said, she was Circular Ruins features music generated by a “For this work I'm creating sounds that inspired by the “many talented composers computer and by percussionist and recording Bach never dreamed could come out of the and my colleagues here” at KU. engineer Jason Slote. oboe. The piece explores the extremes of the “It's almost like ‘let's just get this news “Contemporary composers often write oboe tessitura. Pierce also calls for timbral out there,’ because this latest CD mostly music that pushes the envelope beyond what trills and multiphonics. It actually sounds quite comprises compositions by composers with is considered normal playing technique,” beautiful. It's not like suddenly the instrument ties to Kansas.” Marco said. “This causes performers sounds hideous — far from it. It's just like ‘wow, Marco has recorded works by fellow to dig a little deeper and discover new this instrument can make all these sounds faculty members Ingrid Stolzel, Forrest ways of producing sound. Ingrid’s music that composers before the 20th century never Pierce and Bryan “Kip” Haaheim, and one by exploits the sheer beauty of timbre of each dreamed of.’” KU doctoral student Bonnie McLarty. The instrument she writes for. In combining Look for Marco’s Still Life at the end of July latter features Sarah Anderson singing words the acoustic sounds of oboe and percussion on CD Baby, iTunes, Amazon, YouTube and penned by former Kansas Poet Laureate with computer-generated sonorities, Kip is Spotify. Caryn Mirriam-Goldberg. creating entirely new sounds for the oboe. ■ Rick Hellman “The name of the CD, Still Life, is based The idea of adding computer-generated on Caryn’s poem,” Marco said. sounds to live music has been around for 20 ONE FOR THE AGES: A Conversation with KU Legend Delores Stevens

ne of the greatest accolades a music student can receive is being selected as the Ooutstanding music student in their school. Most students, even the ones that ultimately turn out to be super successful, are never recognized in this way. Pianist Delores Stevens, BM ‘ 52, was selected as the outstanding music major in all four years of her studies at the University of Kansas. An early winner of the prestigious Coleman Chamber Music Competition, her career has been a kaleidoscope of endeavors and triumphs, all bringing joy to those who have shared in her music making. Delores Stevens at the piano as a KU Dee, as she is known to her friends and KU student with teacher Jan Chiapusso. classmates, has performed around the world with some of the most acclaimed musicians of our time. She has taught students of all ages, led piano unthinkable that this would happen in today’s world. and chamber music programs at multiple universities, provided RW: You are the daughter of a legendary lawyer and Kansas artistic leadership for numerous organizations, and premiered new politician, Paul R. Wunsch, who undoubtedly could have endeared compositions of countless composers. She is featured on no less than himself to any number of people with a daughter who was becoming 16 difference recording labels. Dee has been honored with the coveted quite an accomplished pianist at a young age. Did you ever find yourself Performer Award from the National Association of Composers, and in that situation? served multiple terms as governor of the National Association of DS: I don’t remember any particular occasions where I was asked Recording Arts and Sciences (NARAS). She is also the mother of Paul to play for anything like that; however, I do remember being in Topeka Stevens, KU professor of horn. when Daddy was in session with the Kansas Senate. They let us play the Here is an excerpt from a recent conversation Dean Robert piano in the hotel as much as we wanted to. I remember people hearing Walzel had with Stevens in her home in Pacific Palisades, California, us and complementing our playing, but this was very spontaneous and near Los Angeles. informal. It was all so much fun. RW: How did you first become interested in music? RW: Did your father take an interest in your musical pursuits at KU? DS: When I was a young girl in Kingman, Kansas, like so many DS: Daddy was head of the Kansas Senate and even ran for governor. other young ladies, I wanted to take piano lessons. All of my girlfriends I remember one instance when I was a student at KU that we did not played the piano, so I felt very comfortable with this common interest have a harpsichord and we needed one. After speaking with Dean we all had. I walked every week to the home of Mr. Nichols, who was Swarthout, I called Daddy and told him we needed a harpsichord. He the local piano teacher, and began my studies. Playing the piano was asked how much this would cost and, lo and behold, there was a line item very natural for me and I progressed rather quickly. I soon started included in an appropriations bill for KU to acquire a harpsichord. I playing more advanced literature and would frequently go to Wichita always believed that Daddy could do anything. and other places to play in competitions. RW: Talk about your studies at KU. RW: Do you remember your first professional engagement? DS: I studied piano with Jan Chiapusso (KU faculty 1934-60), who DS: Yes, of course! I remember when I was 10 or 11 years old, I was an amazing teacher. My lessons were in his office in Strong Hall, but was hired to play for this beautiful man singing tenor in a competition I practiced in a practice room in Hoch Auditorium. I remember taking held in Dodge City. It was a long distance from our home, and I had to breaks and going downstairs to watch the Jayhawk basketball team in its stay overnight in a hotel. Somehow my parents were comfortable with workouts. This was particularly fun my senior year, since 1952 was the me traveling alone with this person. I still remember the horrible plaid year they won the NCAA National Championship! I also played violin dress that I wore, but he ended up winning the competition, and I was in the orchestra, which rehearsed in Hoch, but I never studied violin. I hooked on playing with other performers. did play sonatas with the violin and cello professors, Raymond Cerf and RW: What else might you tell us about your childhood piano Raymond Stuhl. These opportunities were wonderful experiences for me experience? since we didn’t really have other opportunities for chamber music back DS: Mr. Nichols died unexpectedly when I was about 12 years old, then. They were very kind and encouraging, and I never felt intimidated so I began studying with one of the faculty members at Wichita State or nervous playing with members of the faculty. University, Mr. [Gordon] Terwilliger. I had to take a bus from Kingman RW: So, after graduation, where did you go and what did you do? to Wichita, then take a city bus out to the university and wait to take DS: Mr. Chiapusso had been to Hawaii for concerts and told me he my lesson until after he was finished with his university students. After thought there would be some opportunities for me there, so off I went. all this, I would repeat the bus travels to get home. I was never He helped me get a job teaching music at the famous college preparatory 21 taken to a lesson, but always made the journey by myself. It is Punahou School in Honolulu, the same school that President Obama attended when he lived there. I also played violin North America. Talk about how you became interested in performing and in the Honolulu Symphony, a part time job for commissioning new musical compositions. which I was paid! While playing in the Honolulu DS: Actually, I played for many years with the Montagnana Trio. We Symphony, I met my husband Jim, who came had artists management that booked us to play concerts all over the country to our concerts. We have been married 65 years on the old Community Concert Series and even in Europe. The ten years this year. or so that we were playing together was truly a highlight of my career. Even RW: So, after starting your career in though the instrumentation of clarinet, cello, and piano has some wonderful paradise, where did you go from there? repertoire, there is not a large amount of music written for this combination. DS: I was in Hawaii for two years. Jim It was natural for us to commission new works, particularly from lesser had left the Air Force and gotten a great job at known composers who were emerging on the scene. I developed a passion Paramount Pictures, so it was natural for us to for new music during these years, something that very much continues settle in the Los Angeles area when we married. today for me. I did some piano study with Russian pianist RW: Your career has spanned so many years and encompassed so many Johanna Graudan, whom I had met when she different aspects of music and music education. And it started all those was on tour playing a concert at KU with her years ago in a small Kansas town, progressing through your studies at KU, cellist husband. Johanna introduced me to and continuing today as you prepare for your upcoming concert programs – so many people, and I was able to establish your 23rd season with Chamber Music Palisades in your home in California some musical connections that ultimately and your 49th season leading the Martha’s Vineyard Chamber Music led to professional music opportunities. One Society in your second home in Massachusetts. What advice might you have interesting thing that Jim and I did early on was for young musicians today? to write a musical comedy with one of my other DS: Well it all depends on what they bring to their music. If music is friends. comfortable for them, if they truly love it, if they can’t see themselves doing RW: You and your brother Bob have anything else, then they need to pursue it with everything they have. established an endowment supporting the RW: Certainly, this is what you have done all your life and continue to creation and performance of new musical do today. You’re an inspiration to so many people, and KU and the School of compositions. Your generosity has allowed the Music are so very proud of your many accomplishments and contributions School of Music to establish a new “New Music” to the art of music. Thank you for taking the time to share your memories festival that will help extend our reputation and thoughts with our readers. into some of the most elite music programs in ■ Dean Robert Walzel

ALUMNI NEWS

2019 KU OUTSTANDING MUSIC EDUCATOR NAMED Lindsay Taylor Hatfield, BME ’07, received the KU Outstanding Music Educator Award at the annual Kansas Music Educators Association In-Service Workshop in Wichita in February. Hatfield, pictured with MEMT Chair Chris Johnson, is a music teacher at Schwegler Elementary School in Lawrence. The award is given each year at the KMEA KU Alumni Reunion and the honoree is selected by the KU Music Education faculty.

TUBA-EUPHONIUM STUDIO TO CELEBRATE SCOTT WATSON’S 40TH YEAR AT KU In celebration of Tuba-Euphonium Professor Scott Watson’s 40th year of teaching at KU, a multitude of events will be planned for a Reunion Weekend on Oct. 18 to 20. Tuba-Euphonium alumni are invited to join current students for the reunion, which will include a series of alumni concerts: an alumni recital with pianist Ellen Sommer on Friday, Oct. 18; a concert with alumni soloists with the Free State Brass Band on Saturday, Oct. 19 and an Alumni Ensemble and KU Tuba Euphonium Consort concert on Sunday, Oct. 20. To RSVP, email Watson at [email protected] or Jarrod Williams at [email protected].

ALUMNI REUNIONS Mark your calendars for upcoming KU School of Music alumni reunions, where you’ll have the opportunity to mingle with current faculty and students and connect with former classmates. Chicago: Midwest Clinic | Dec. 19

Wichita: Kansas Music Educators Association In-Service Workshop | Feb. 28 22 Photo by Christine Metz Howard Metz Christine by Photo

‘MAGICAL FEELINGS’ REMAIN DECADES AFTER BRASS CHOIR TOURS SOUTHEAST ASIA

uring the spring semester of 1964, the KU Brass modernity. Everywhere the Brass Choir went, it generated Choir, directed by Kenneth Bloomquist, traveled to newspaper headlines. DSoutheast Asia as part of a goodwill tour through the “We traveled five or six hours a day at about 30 miles U.S. Department of State’s Cultural Presentation Program. per hour. You wouldn’t know where you were going. Then It was a tour remarkable for its lasting influence on the 18 we would stop, set-up a stage, people would come out student musicians who participated, and its place in history, of nowhere and we would play,” said C.L. Snodgrass, a set between the assassination of the program’s founder, trumpeter on the tour. President John F. Kennedy, and the escalating conflict in In one open air concert in Ceylon, more than 10,000 the region the following fall. people attended and for many in the audience it was their From Feb. 12 to May 17, the group traveled to Okinawa first-time seeing Americans. followed by Ceylon (now Sri Lanka), Laos (a last-minute “People were just fascinated to see and talk to addition to the tour as the group had originally been Americans. It wasn’t awkward in any sense; humanity took scheduled to visit Vietnam), Malaysia, Indonesia and over and we related quite easily with people,” said Roy concluded in Australia. Accompanying the group was Guenther, a trombonist on the tour. Bloomquist’s wife Ann, an accomplished soprano who had a Prior to the trip, Roy Guenther hadn’t traveled further gift for speaking foreign languages. than 400 miles from his home, and that was to see relatives. Visiting 35 cities and performing 85 concerts in 96 “Then all of a sudden you are getting on airplanes and days, the Brass Choir traveled into the heart of Southeast traveling around the world,” Guenther said. “For college Asia. The students ventured through jungles, mountains, kids, it was an unheard-of opportunity and made a great and even to the top of an Indonesian volcano. They visited difference in our lives.” 23 ancient cities and others that were surprising in their level of Snodgrass and his then wife Lita Matthews sent their Members of the 1964 KU Brass Choir. Bottom row, left to right: Clarence Awaya, double bass; Linda Converse, trumpet; Kenneth Bloomquist, conductor; Ann Bloomquist, soprano; William Booth, trombone; Lita Matthews, trumpet; and Roger Rundle, horn. Middle row: William Hartman, trombone; Robert Gifford, trombone; Richard Ellison, tuba; Kent Riley, piano; C.L. Snodgrass, trumpet; and William Lane, horn. Top row: Don Hodges, horn; David Boyd, percussion, Jon Irish, trumpet; Roy Guenther, trombone; Gary Watson, horn; Michael Berger, horn; and Alvin Lowrey, trumpet.

three children to live with grandparents in Clay Center while five trumpets, five horns, four trombones and a tuba. on the tour. Before flying to Southeast Asia, the Brass Choir gave “It was tough to be away from the children that long,” concerts throughout the region, including one in Clay Center, Snodgrass said. “But it was certainly an experience that is Kansas, with headliner Doc Severinsen, already well-known near the top of the list for things I have enjoyed during my for his Tonight Show trumpet solo appearances. time on earth.” Once on tour, the concerts could last several hours and Kenneth Bloomquist arrived at KU in 1958 as the included American folksongs and classics such as Aaron trumpet professor and assistant director of bands. By 1961, Copland’s Fanfare for the Common Man, and John Phillip he had organized the KU Brass Choir, which was selected to Sousa’s Stars and Stripes Forever, as well as early classical perform at the National Convention of the Music Educators works and music by a jazz quintet. The concerts also added National Association. an important cultural element: Ann Bloomquist would “Word reached the powers that be in the State sing the host country’s national anthem and several of the Department. We sent a recording to them, they came to country’s children songs or folksongs in the native language. the campus to visit us, and we were chosen to be among the “When we arrived in a country, I would ask a groups that would be touring in the Cultural Presentation local person in the office to give me the words to their Program,” Bloomquist said. national anthem, including their meaning and a phonetic During the fall of 1963, the group rehearsed extensively. pronunciation. Then my husband or some of our students At the request of the State Department, it incorporated jazz would make an arrangement for the ensemble. Sometimes into its repertoire, even though at the time playing jazz was it was performed on the same day, with only a short run- forbidden in Murphy Hall. To accommodate the request, a through,” Ann Bloomquist said. piano, bass and drum were added to the existing ensemble of Continue on page 25 24 “Most anthems were beautiful and that made it easy for me to School of Music. He retired from MSU in 1993. Ann Bloomquist sing a heart-felt performance,” she added. used the songs she collected on tour as part of her master’s thesis Ann Bloomquist also learned to say short phrases in the and continued to perform professionally and teach music in public language of the country, such as ‘thank you,’ or ‘we very much enjoy schools. Snodgrass spent 32 years as a high school band director in your country.’ Kenneth Bloomquist said his wife’s performances Clay Center. Guenther was a staff sergeant in the U.S. Marine Band, were always a hit. Guenther also recalled the impression it made followed by a career in academia in musicology and music theory, on the crowd. including positions as chair of the music department at George “People would cheer and stomp. It was a real key element to Washington University and executive associate dean for Columbian our diplomatic success, her ability to relate to them in their own College at GW. music and language,” Guenther said. Other notable musicians on the tour were Bill Lane, who was Audience members packed venues, gave thunderous ovations principal horn for the Los Angeles Philharmonic and a studio and asked for autographs. Throughout the tour, the ensemble musician for legendary composer John Williams; Bill Booth, who played to a combined audience of 124,000. went on to be principal trombonist for the Los Angeles Opera, “For a 19-year-old kid, it felt as though we were being treated Hollywood Bowl Orchestra and Pasadena Symphony, and is a like rock stars,” Guenther said. popular studio musician who also performed with Williams and in Of course, the trip wasn’t all glitz and glamor. Buses broke well over 1,200 movies; and Alvin Lowrey, who was the principal down, accommodations were sometimes less than ideal and the trumpet for the Edmonton Symphony Orchestra in Ontario, Canada. musicians at times had to perform jet lagged, sunburned and Many other students went on to have long careers in music education, hungry. both at the K-12 and university levels. “But the interactions with the people were so fantastic, it For many, the tour was life changing, fostering a love of travel didn’t matter a bit,” Guenther said. and longstanding friendships. The group had its first reunion in 1991, Looking back, Guenther and Snodgrass said they were amazed which included a performance in Swarthout Hall, and met again in by the caliber of musicianship that was pulled together for the tour 2017 on Lane’s farm in Knob Noster, Missouri. and what the group has gone on to accomplish. While many details of the trip have faded from memory, Ann “We’ve asked, how did the stars align so there were so many Bloomquist said the warm, magical feelings remain. good players in one place at one time?” Guenther said. “We just knew that sharing with other peoples through the arts After the tour, Kenneth Bloomquist left KU in 1970 to take could be so powerful in promoting peace and understanding. We felt the position of conductor and director of bands at Michigan that we were more alike than different,” she said. “The fact that we State University and later became the director of the MSU are all still talking about the experience speaks volumes.” ■ Christine Metz Howard

Top Left: The KU Brass Choir performs in Laos. Ann Bloomquist, far right, was always a 'hit' with audiences when she sang songs in the hosts country's language.

Bottom Left: While in Ceylon (now Sri Lanka), the KU Brass Choir traveled through the country on a bus carrying 22 people, including the driver and State Department official and a trailer behind it with the stage and instruments.

Right: Sightseeing in an ancient city in Laos.

25 Top Left: Ann and Kenneth Bloomquist wave goodbye as they board a plane in Laos.

Bottom Left: Musicians in the KU Brass Choir were made honorary members of the Indonesian Student Cultural Federation.

Top Right: Linda Converse, lower right, and Lita Snodgrass, center, give lessons at an outdoor seminar on the grounds of the Kumoji Elementary School in Naha, Okinawa.

Middle Right: The KU Brass Choir gave its first concert in Laos at the Higher Teaching Training School, just outside the capitol city of Vientiane.

Bottom Right: Sightseeing while on tour 26 Introducing Development Director Curtis Marsh

Hello, fans of KU Music! It is with a great deal of pride that I introduce myself as your new development director. Having been a Midwestern Music Camper throughout high school and having attended KU on a small voice scholarship, I feel like I am truly coming home. One year with the Marching Jayhawks, four years with KU Choirs, and I am singing and trumpeting still today, in my 25th year as a KU employee.

When I speak with alumni and friends of the KU School of Music, I will be doing so as a member of that community myself. When I describe the importance of enhancing the resources for our students, faculty and staff, it will be so that others may have the same wonderful experiences I had. Like many of you, I believe music makes the world go round. And I am blessed to be working with the Jayhawk Nation to strengthen the world of music at KU. Don’t hesitate to contact me, and Rock Chalk!

Curtis Marsh Development Director for the School of Music and the Lied Center KU Endowment 785 832-7467 [email protected]

KU SCHOOL OF MUSIC DEAN’S CLUB

The School of Music Dean’s Club is comprised of donors who give $1,000 or more annually to the School of Music. For more information about this program please contact Kylie Smith at 785-864-4104 or [email protected].

Susan E. Adams, PhD, MD Terry A. Johnson & Del Johnson Robert J. Anderson, Jr. & Marcia F. Anderson Doris H. Jordan & Jim Jordan James H. Beach, PhD William T. Kemper Foundation William E. Benso & Beverly Runkle Benso Ken Krehbiel & Kathryn E. Loomans Beverly A. Smith Billings David S. Kyner, PhD & Carol J. Kyner Dee Blaser & Chuck Blaser Thomas W. Lohmeyer & Joyce A. Lohmeyer Tom E. Bowser & Judith Strunk Bowser Dean C. Luehrs, PhD Christopher T. Bradt & Denise White-Bradt Betty J. Mitscher John B. Calbeck, MD & Kari Ryman Cynthia Brown Munzer & Gary Glaze Joyce Malicky Castle Barbara A. Nordling Alicia A. Clair, PhD Barbara Jean Ommerle & Enio Minervini Dale Ann Clore Susan Frederick Ralston Harry W. Craig, Jr. & Karen M. Craig John J. Reese Carrie L. Woodling Dixon & Gerry D. Dixon Terri L. Reicher Kevin C. Downs Nang M. Rives, PhD & James A. Rives, PhD Sue Duncan & James F. Duncan Helen Weeks Rogers, PhD Delmar D. Falen & Evelyn M. Falen Kent P. Saylor & Donna C. Saylor David U. Fitzcharles & Alice R. Fitzcharles Katherine Schmidt Joelle S. Ford & N. Allen Ford James M. Self Gary Foster Kyra Falen Shimizu & Richard J. Shimizu Janice Tande Gaumnitz & Jack E. Gaumnitz Charlotte S. Simonson Kenneth V. Hager & Marilyn J. Hager Lee M. Smithyman, Esq. & Nancy B. Smithyman Loretta N. Hake Stephen Paul Wunsch Foundation for Young Musicians William J. Hall, PhD & Elaine Thalman Hall John T. Stewart III & Linda Bliss Stewart Daniel J. Harris Daniel J. Suiter, MD & Marcia G. Suiter Connie Pino Henry & Steven K. Henry Cynthia Fite Tamer Martha Dolores Hills James R. Vincent Adele Hodgdon & Chris Hodgdon Jeffery B. Weinberg & Mary Haynes Weinberg Zachary D. Holland & Melissa L. Holland Delbert L. Williamson & Barbara Ossian Williamson David R. Ice & Diana Double Ice Paul H. Winslow & Mary Ann Klimas Winslow Jedel Family Foundation Joseph E. Wise III, MD & Claudia Jacobs Wise Marcia R. Jilek Robert S. Wunsch Beth Gibbs Johnson & Preston Ellis Johnson II James P. Zakoura 27 Jeffrey A. Johnson & Dawn Boyett Johnson FRIENDS OF THE SCHOOL OF MUSIC

The School of Music Friends are a community of alumni, parents, friends and students who are dedicated to providing annual financial and advocacy support to the KU School of Music. We invite you to join us as a Friend of the KU School of Music by making an unrestricted gift to help students and families discover the wonder of music through our world-class educational programs and hundreds of performances each year. Your investment is essential to our success as we raise the bar of excellence and achievement for our students and faculty. In addition to a free window decal to show your support for the School of Music Friends Program, your membership also grants you recognition in the programs for the year’s concert series. Plus, if you choose to join at the Patron level or above, you will receive tickets to the annual Collage Concert as our gift.

For more information visit: www.music.ku.edu/KUMusicFriends

If you have any questions about membership or its benefits, please contact Kylie Smith at(785) 864-4104 or [email protected].

KU SCHOOL OF MUSIC CAMERATA: Richard T. DeGeorge Elizabeth A. Gildea Chuck and Dee Blaser Donald A. Johnston & Alice Ann Dowell Johnston Tom and Judy Bowser Ken Krehbiel & Kathryn E. Loomans Jim & Sue Duncan Bridget E. Murphy Jack and Jan Gaumnitz George W. O'Donnell III & Judith L. O'Donnell Dave and Gunda Hiebert Pamela L. Pendergast Mar Lan Construction Janis Porietis, DMA Barbara Nordling Roger A. Reed & Janet M. Reed Judith Gorton Parkinson Marilyn Belton Reznick & Ira L. Reznick, MD Bob Wunsch Dennis R. Schapker & Merrill Harris Schapker Amy R. Schwamberger DEAN'S CLUB LEVEL ($1000) Katherine Weaver Steele & Steven B. Steele Norma Wahl Strecker Doris H. Jordan & Jim Jordan Strecker Family Rev. Trust Mar Lan Construction, LC Mary Ellen Sutton, DMA Kent P. Saylor & Donna C. Saylor

PATRON LEVEL ($500) FRIEND LEVEL ($50) Linda W. Maxey Kristi A. Baker, DMA Gerald J. Throop, PhD Linda A. Bosse & Anthony E. Bosse Jr. Janis Brown Hutchison Lesley T. Ketzel ADVOCATE LEVEL ($250) Linda E. Lungstrum & John W. Lungstrum Edwin M. Cooley & Diana D. Cooley Earl A. Nehring Susan Killian Myers, PhD & Gordon D. Myers Feryl Cauble Potter & Charles A. Potter Thaddeus R. Preisner, PhD & Virginia Kline Preisner SPONSOR LEVEL ($100) Sherry Hughey Wilson

David A. Ambler, PhD & Mary Kate Ambler OTHER DONORS John E. Bechen Sarah E. Brown & Randy A. Brown Zora Belle Hundley Joe B. Buttram, PhD & Cathey Buttram Janet D. Corwin

28 Contributions from generous donors help the School of GIVING BACK Music attract the best and brightest musicians to KU.

$ $810,000+ 200 awarded in scholarships students received in 2018-19 scholarships

STUDENTS RECEIVING SCHOLARSHIPS

101 84 15 in-state out-of state international

VALUE OF $800,000 - - $600,000 - - SCHOLARSHIP $400,000 - - $200,000 - AWARDS -

2015-16 2016-17 2017-18 2018-19

SUPPORTING MULTICULTURAL SCHOLARS AT KU

In 2017, the KU School of Music launched its Multicultural Leading the program is Genaro Méndez, associate professor of Scholars Program in a commitment to create and maintain a voice and a Mexican American who was the first person in his family diverse, equitable and inclusive environment for its students, to attend college. faculty and staff. Since then six undergraduate students from “I know first-hand how impactful scholarships and faculty under-represented backgrounds have joined a community whose mentorships can be. Without both, I wouldn’t be where I am today. goal is to ensure their academic and career success. Multicultural My mentors guided me from high school to graduate school, and I look scholars, who include students of color, first-generation college forward to paying it forward to music students who are, in many ways, students and students with high financial need, have opportunities like me,” Méndez said. to develop leadership skills through specially designed academic, A vital element of the Music Multicultural Scholars Program is social, personal and career-oriented experiences. During their time scholarship support. Students within the program receive renewable at KU, multicultural scholars receive individualized mentoring, scholarships to help offset the cost of their education. To give, contact four-year renewable scholarships and participation in Development Director Curtis Marsh at [email protected] or regularly scheduled social and cultural activities. 785-832-7467. 29 2019-2020 CONCERTS at the LIED CENTER For times and tickets visit lied.ku.edu Feb. 1 Prairie Winds: KU Wind Ensemble, Crossroads Sept. 13 20th Annual Collage Concert Wind Ensemble & Jazz Ensemble I Sept. 26 LIED CENTER PRESENTS: Feb. 6 LIED CENTER PRESENTS: KU Symphony Orchestra KU Percussion Group with Erika Daimo, marimba with Juan-Miguel Hernandez, viola Feb. 15 10th Annual Scholarship Concert Oct. 1 KU Wind Ensemble March 4 KU Symphonic Band & University Band Oct. 23 KU Wind Ensemble March 18 LIED CENTER PRESENTS: & Symphonic Band KU Wind Ensemble with Joseph Alessi, trombone Oct. 31 KU Symphony Orchestra March 27 KU Symphony Orchestra Nov. 14 KU Wind Ensemble & April 2 LIED CENTER PRESENTS: Crossroads Wind Ensemble KU Jazz Ensemble I with Camila Meza, vocalist Dec. 4 KU Symphonic Band and guitarist & University Band April 24 KU Wind Ensemble Dec. 8 95th Annual Vespers April 28 KU University Band & Jazz Ensemble II and III April 30 KU Symphonic Band May 5 KU Symphony Orchestra 2019 WUNSCH NEW MUSIC FESTIVAL Nov. 10-14, | Composer-in-Residence: Melinda Wagner | Ensemble-in-Residence: Left Coast Ensemble

KANSAS VIRTUOSI PERFORM MUSIC BY MELINDA WAGNER Nov. 10 | 7:30 p.m. | Swarthout Recital Hall MUSIC OF KU COMPOSITION FACULTY AND RECEPTION Nov. 11 | 7:30 p.m. | Cider Gallery, 810 Pennsylvania ST LEFT COAST ENSEMBLE Nov. 12 | 7:30 p.m. | Swarthout Recital Hall

PARTNERSHIP FOR THE ARTS EVENTS

VESPERS ON THE ROAD Dec. 6 | 7:30 p.m. | Carlsen Center, Johnson County Community College KU CHOIRS: JOY OF SINGING April 23 | 7 p.m. | Kauffman Center for the Performing Arts, Kansas City, Missouri

30 1530 Naismith Drive Murphy Hall, Room 460 Lawrence, KS 66045-3103

Where world-class faculty and future stars come together FOR UNFORGETTABLE PERFORMANCES

20TH ANNUAL KU COLLAGE CONCERT 7:30 p.m. | Friday, Sept. 13 | Lied Center

KU SCHOOL OF MUSIC AND LIED CENTER PRESENT: KU SYMPHONY ORCHESTRA with Juan Miguel Hernandez, viola 7:30 p.m. | Thursday, Sept. 26 | Lied Center

KU WIND ENSEMBLE 7:30 p.m. | Tuesday, Oct. 1 | Lied Center KU WIND ENSEMBLE & SYMPHONIC BAND Experience the exceptional talents of KU School of Music 7:30 p.m. | Wednesday, Oct. 23 | Lied Center students, faculty and visiting artists at MUSIC.KU.EDU

KU SYMPHONY ORCHESTRA 7:30 p.m. | Thursday, Oct. 31 | Lied Center KU WIND ENSEMBLE & CROSSROAD S WIND ENSEMBLE 7:30 p.m. | Thursday, Nov. 14 | Lied Center

95TH ANNUAL HOLIDAY VESPERS 2:30 & 7:30 p.m. | Sunday, Dec. 8 | Lied Center

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