SPRING 2013 ANFA RE F northwestern university Henry and Leigh Bienen School of Music first chair

A MESSAGE FROM THE DEAN other music schools around the country of a $6 million gift from the Robert W. have begun to emulate our programs. Galvin Foundation to name the building’s On behalf of the Bienen School of Music, Our graduates also continue to achieve recital hall in honor of longtime arts I am pleased to present the first spring issue success through such traditional paths as patron and 1945 Northwestern graduate of Fanfare in positions in professional orchestras. Many Mary B. Galvin. more than a of them have greatly benefited from the This issue of Fanfare documents decade. To reflect school’s ongoing relationships with two how the school’s consistent pursuit of the many excit- of the nation’s top training orchestras, the its mission to educate the 21st century’s ing developments Civic Orchestra of Chicago and the New outstanding artist-scholars empowers stu- at the school, our World Symphony. dents to thrive in a wide range of directions. alumni magazine New developments on campus are But the stories presented here serve only has returned to providing our students with significant as brief chapters in the much larger story a biannual publi- professional advantages as well. Our opera of Bienen School success that is collectively cation schedule. program now offers voice students the authored every day by the school’s faculty, This issue celebrates the many diverse paths opportunity to perform with leading pro­ students, and 9,000 alumni. I look forward to success that the Bienen School offers for fessional singers as mentors, and this year’s to many further exciting developments as musicians of the 21st century. productions of contemporary works have this story continues. As a top-ranked music school within given students the experience of working a leading research university, the Bienen with major operatic composers. Still in its Toni-Marie Montgomery School has long been a pioneer in develop- first year, the groundbreaking Institute for Dean ing dual-degree and double-major programs New Music brings composers and promi- that allow music students to specialize in a nent new-music scholars and performers to nonmusical area. Such academic credentials campus, providing students with invaluable equip the school’s graduates for a vastly involvement in this vital area. wider range of professional opportunities. Bienen School students of the near And—in the sincerest form of flattery— future will enjoy another immense educa­ tional advantage with the opening of the school’s new state-of-the-art facility. We have particular cause for celebration in that regard with the announcement F ANFARE Spring 2013 Opus 48 Northwestern University 11 Bienen School of Music 4 Dean Toni-Marie Montgomery 16

Staff 14 Editors Will Kazmier, Kingsley Day Notes Editor Marck Bailey Designer Grace Delcano Photo Credits Jun Sung Ahn, Stephen Anzaldi, Marck Bailey, Matt Dine, P. Franke/Bariloche, LiveWellPhoto, Toni-Marie Montgomery, Laura Nielsen, Bruce Powell, Todd Rosenberg, Anneliese Sloves, the Stradivari Society, Dan Tufano, Christina Walker, Tarina Westlund, Erin Wigger

Fanfare is the official magazine of Features Departments Northwestern University’s Bienen School of Music. DOUBLING UP ON EXCELLENCE FIRST CHAIR Innovative Degree Programs Help Students A Message from the Dean Address changes Explore Multiple Paths to Success . . . . 6 Director of Development, Bienen School of Music, Northwestern NOTEWORTHY ...... 2 University, 1800 Sheridan Road, LOOKING BACK, MOVING FORWARD Evanston, Illinois 60208-1200 Opera Program’s New Vision Defined ON THE CONCERT STAGE ...... 21 by Director’s Wealth of Experience . . . .11 Other correspondence STUDENTS ...... 22 Fanfare Editor, Bienen School of Music, A PASSION FOR THE PERFORMING ARTS Northwestern University, 711 Elgin Road, Evanston, Illinois 60208-1800, New Recital Hall Named in Honor FACULTY ...... 24 [email protected] of Mary B. Galvin ...... 14 ALUMNI ...... 29 ©2013 Northwestern University THE NEXT STEP All rights reserved Training Orchestras Help Launch Careers . 16 DONORS ...... 35 Produced by University Relations 4-13/9.5M/KD-GD/1483-1

Cover: A scene from the winter opera production of The Grapes of Wrath (photo by Todd Rosenberg) noteworthy

New Ravinia Internship Program on a daily basis,” she says. Spending two weeks for the complexity of a large-scale organization in each of five departments—artist relations, like Ravinia,” says Mateja. “There are so many As part of its strategic plan initiative to development, communications, outreach, and different components involved in presenting enhance student training in music business, the summer conservatory program—Mateja its programming, and each one needs to be the Bienen School recently launched a new shadowed Ravinia personnel and completed managed at a high level for the festival to be internship program in partnership with the projects that helped advance major depart- successful.” Exposure to the variety of posi- Ravinia Festival. Intended for students inter- mental goals. Her responsibilities included tions at Ravinia also raised Mateja’s awareness ested in arts administration, the program reviewing contracts, maintaining relationships of the many available career paths for music provides participants with valuable real-world with trustees and visiting artists, developing students. “One of the most important lessons experience working in a major arts organiza- marketing materials, and participating in an I learned from working at Ravinia is that my tion while exploring a variety of potential El Sistema–based music education program background in music will prepare me for a career options. During fall quarter Paulina at an area elementary school. range of interesting jobs,” Mateja explains. Mateja, a dual-degree junior majoring in Engaging in this broad array of activities “Having a music degree opens up a lot of guitar performance and comparative literary proved educational on multiple levels. “The different possibilities.” studies, became the first student to complete internship provided me with an appreciation Currently offered exclusively during fall a 10-week Ravinia internship specifically quarter to correspond with Ravinia’s staff- designed for Bienen School undergraduates. “One of the most important ing needs, the internship program may be In exchange for one academic credit, Mateja lessons I learned from expanded to winter or spring quarter, depend- worked 10 hours per week at Ravinia and working at Ravinia is that ing on student interest. Mateja will further developed a broad understanding of its multi- my background in music explore her career options by continuing her faceted operations. will prepare me for a range work at Ravinia this summer. “I feel lucky to From Mateja’s perspective, the intern- of interesting jobs.” have participated in this internship and defi- ship was an unqualified success. “The program nitely want to return to Ravinia,” she says. —Paulina Mateja provided a great opportunity to learn how a “My only regret is that the program didn’t leading arts-presenting organization functions last as long as I would have liked. I would strongly recommend this program to any Bienen School student who is interested in arts administration as a possible career.” The Ravinia internship represents only one way the Bienen School is providing stu- dents with the business skills that are prov- ing increasingly valuable in today’s rapidly evolving economic and cultural climate. Last fall the school also initiated a new two- course sequence on music entrepreneurship. Maintaining the school’s emphasis on provid- ing students with practical business knowledge, the courses are taught by Gavin Chuck, who brings a wealth of professional experience to the classroom through his work as manager of the new-music ensemble Alarm Will Sound. In conjunction with these courses, the school is also offering a series of one-day career workshops led by arts professionals working at the intersection of music and business. Paulina Mateja

2 FANFARE So - Percussion at Pick-Staiger (above); violinist Graeme Jennings with composition students (right)

Institute for New Music Holds among our creative and academic communi- “The event’s structure Successful Inaugural Event ties,” says Thomalla. “The inclusive nature of allowed us to work around the dialogue was extremely exciting and will A cornerstone of the Bienen School’s strate- the intellectual and disci­ serve as a model for future institute events.” plinary boundaries that gic plan, the Institute for New Music held its The well-attended festival drew strong often separate performers, inaugural event last November: a three-day participation from the Bienen School commu- festival examining the music and artistic legacy nity and featured a stellar roster of guest composers, and scholars.” of John Cage. In keeping with one of the artists and scholars. Well-known Cage inter- —Hans Thomalla institute’s primary goals—to unite the school’s preters such as pianist Stephen Drury, So- music performance and music studies depart- Percussion, the experimental electronic group ments in a dialogue about 20th- and 21st- Loud Objects, composer and electronic artist Supported in part by a $1 million grant century art and popular music—the festival Cenk Ergün, and guitarist Grey Mcmurray from the Davee Foundation, the institute assembled performers, composers, and scholars performed throughout the event. The festival has continued to maintain a lively events for a series of performances, lectures, and also assembled some of the world’s most calendar following the Cage Festival. Spring panel discussions relating to Cage’s oeuvre. respected academic authorities on Cage’s work quarter brought weeklong guest-artist residen- “The festival was a great success,” says for a symposium. Speakers included Seth cies by the Chicago-based new-music group institute codirector and assistant professor of Brodsky (University of Chicago), Deborah Ensemble Dal Niente and renowned violinist composition Hans Thomalla. “The event’s Campana (Oberlin Conservatory), Rob Haskins Graeme Jennings, who coached performance structure allowed us to work around the intel- (University of New Hampshire), Charles students on extended techniques and critiqued lectual and disciplinary boundaries that often Junkerman (Stanford University), David works by composition students. separate performers, composers, and scholars.” Nicholls (University of Southampton), and Academic year 2013–14 will feature an During the festival Cage interpreters both Julia Robinson (New York University). extended residency by one of Europe’s pre- performed his compositions and gave lectures Completing the festival’s impressive roster mier new-music groups, Ensemble Recherche, on the musical challenges posed by his work. of participants, Thomalla and fellow Bienen and a second major festival featuring leading The participation of these artists was comple- School composition faculty member Lee Hyla figures in 21st-century music. “We are off mented by a series of scholarly talks focusing were joined by a third composer, North­ to a great start,” says Thomalla. “Given the on the meaning and importance of Cage’s western alumna Nomi Epstein. Because the institute’s strong momentum and outstanding music as well as a panel discussion featuring festival gathered an unprecedented range internal support, I anticipate that its second composers who discussed Cage’s influence in of knowledgeable voices on Cage’s work, year will be even more exciting than its inau- contemporary music. “The presentations and several lectures from the event are expected gural year.” lectures generated a high degree of interaction to be revised and published as an edited volume by a major academic press.

SPRING 2013 3 noteworthy

“There aren’t many music schools that could attract a legendary pianist like Murray Perahia to teach a master class on their campuses.” —James Giles

Murray Perahia Master Class of the music they were playing and helped Avery Fisher Prize, the Royal Philharmonic’s elevate their performance.” Instrumentalist Award, the Claudio Arrau Murray Perahia, one of the most celebrated While Perahia’s visit had a direct edu- Memorial Medal of the Robert Schumann pianists of the past half-century, visited the cational benefit for piano students, it is also Society, and numerous Gramophone awards. Bienen School last October to lead a master expected to elevate the school’s reputation. Several of Perahia’s more than 50 recordings class before an enthusiastic audience of several “There aren’t many music schools that could —most notably his rendition of Bach’s English hundred spectators in Pick-Staiger Concert attract a legendary pianist like Murray Perahia Suites Nos. 1, 3, and 6 and his duets with Hall. The event was the first of several campus to teach a master class on their campuses,” says Radu Lupu—are considered pianistic bench- appearances by Perahia over the next year Giles. “The fact that he was willing to work marks. Widely admired for his ability to as recipient of the Bienen School’s biennial with our students in such a context speaks seamlessly meld unsurpassed technique with Jean Gimbel Lane Prize in Piano Performance. volumes about the quality of our students unrivalled imagination, Perahia has earned Bienen School piano students Xuan He, and will only enhance our stature as a leading a worldwide reputation as the “poet of the Xia Jiang, and Jeong-ah Ryu worked individu- music institution.” piano.” ally with Perahia, who addressed technical The Lane Prize, providing a cash award of Perahia will next return to the Bienen and interpretive challenges in compositions by $50,000, was established in 2005 to recognize School on March 2, 2014, for a public recital Beethoven, Brahms, and Schumann during the pianists who have attained the highest levels in Pick-Staiger Concert Hall. Additional hourlong session. “This master class provided of international acclaim. Since first rising to residency activities are being planned. The our students with a wonderful opportunity prominence with his triumph at the 1972 Jean Gimbel Lane Prize is made possible by a to learn from an iconic figure in the piano Leeds International Piano Competition, Perahia generous gift from 1952 Northwestern gradu- world,” says James Giles, associate professor has perfectly exemplified that standard. For ate Jean Gimbel Lane and the late Honorable of piano. “Murray Perahia is an engaging and the past 40 years he has enjoyed a position as Laurence W. Lane. thoughtful teacher, and his dynamic instruc- one of the world’s most sought-after pianists tion gave our students a new understanding while garnering a vast collection of significant honors, including two Grammy Awards, the

4 FANFARE Aaron Jay Kernis Residency and myself,” Hyla explains. “But Kernis’s visits “The series of exciting resi- have added yet another viewpoint to their dencies by Aaron Jay Kernis Last spring the Bienen School named educational experience, something that will Aaron Jay Kernis—widely recognized as significantly adds to the help them find new ways of thinking about Bienen School’s legacy as a composer of profound imagination and their work and a distinctive musical language an institution that strongly significant social importance—the winner for expressing their ideas.” of the $100,000 Awarded biennially, the Nemmers Prize encourages the creation, Michael Ludwig honors outstanding composers who have performance, and study of Nemmers Prize in made a significant impact in the field. A past new music.” —Lee Hyla Music Composition. recipient of the Pulitzer Prize (1998) and the Since then, Kernis Grawemeyer Award (2002)—two of the most has visited the Bienen prestigious honors in composition—Kernis new Kernis work will be premiered by the School for two residen- has long played an important role in helping Chicago Symphony Orchestra during the cies that have featured define the contemporary musical landscape. 2013–14 season. presentations of his He has received commissions from many of Kernis will return to the Bienen School current work in colloquia, private lessons the nation’s most respected performers and for additional residency activities this fall. with composition students, and coachings cultural institutions. Recent Kernis works have The Michael Ludwig Nemmers Prize in of performance students. He also attended been performed by Renée Fleming, Dawn Music Composition is made possible through a Winter Chamber Music Festival concert Upshaw, Joshua Bell, Sharon Isbin, the New bequests from the late Erwin Esser Nemmers, where the Calder Quartet and Chicago York Philharmonic, and the Philadelphia a former Northwestern faculty member, and Symphony Orchestra assistant principal Orchestra. As part of the Nemmers Prize, a his brother, the late Frederic E. Nemmers. clarinetist John Bruce Yeh performed Kernis’s recent composition Perpetual Chaconne. “This has been an exciting year for contemporary music at Northwestern,” says Lee Hyla, the Bienen School’s Harry and Ruth Wyatt Professor of Theory and Compo­ sition. “The series of exciting residencies by Aaron Jay Kernis significantly adds to the Bienen School’s legacy as an institution that strongly encourages the creation, performance, and study of new music.” Hyla adds that Kernis’s residency activities have had a powerful effect on students by exposing the school’s young composers to a new creative perspective. “Our composition program consists of three very different composers in Jay Alan Yim, Hans Thomalla,

Aaron Jay Kernis (right) with student Conner VanderBeek

SPRING 2013 5 Doubling Up on Excellence Innovative Degree Programs Help Students Explore Multiple Paths to Success

by Will Kazmier

WWhen the Bienen School of Music was established in 1893, founding dean Peter Christian Lutkin committed the school to an educational mission that emphasized training “well-rounded musicians” capable of demonstrating expertise in performance, pedagogy, and the liberal arts. Although Lutkin retired in 1928, the school’s dedication to educating students who excel in mul- tiple disciplines—as artists and scholars—has only intensified in succeeding decades. Capitalizing on its special position as a top music institution within a great private research university, the school has long maintained a comprehensive curriculum that ensures students will develop the varied skills necessary to succeed amid the changes of a rapidly evolving cultural and economic climate.

6 FANFARE While all Northwestern music students are immersed in a similar view. But over the past decade, I have seen that many of the most learning environment that synthesizes creative and academic endeavors, remarkable string students at Northwestern are also pursuing degrees in the Bienen School’s emphasis on pursuing excellence in multiple economics, engineering, or other subjects.” Now an “enthusiastic sup- fields is perhaps most vividly reflected in its dual-degree and inter- porter” of the school’s dual-degree and double-major programs, Ribeiro school double-major programs. Recognizing the importance of multi­ says that “both of these options have served as valuable recruiting tools disciplinary training to artistic, intellectual, and career development, for the school while helping to enrich the lives of our students.” the school’s undergraduates—and their parents—have found these Alan Chow, associate professor of piano, concurs. “These options programs particularly appealing. Since the inception of the school’s have become an important differentiating factor for the school in five-year dual-degree program in the early 1980s, more than 400 attracting students who are both musically and intellectually gifted,” Bienen School students have combined a bachelor’s degree in he says. While Chow relishes the opportunity of teaching students with music with an additional bachelor’s degree from strong aptitude in more than one field, he the Weinberg College of Arts and Sciences, the concedes that working with dual-degree McCormick School of Engineering and Applied and double-major students can pose minor Science, or the Medill School of Journalism, Media, challenges for faculty. “There is usually some Integrated Marketing Communications. During the degree of complexity with regard to time same period another 75 students have completed the management,” Chow observes. “If students school’s interschool double-major program, in which are pursuing a demanding second degree or students earn a single bachelor’s degree in music major, they will not be able to practice as while fulfilling requirements for one major within much as I would like during certain parts the Bienen School and a second major outside the of the quarter, such as when midterms are school, most commonly in Weinberg College. held or when major writing assignments are Over the past 15 years the popularity of both due.” Nevertheless, Chow points out that programs has almost doubled. Today more than 140 missed practice time can be made up during Bienen undergraduates are enrolled in the dual-degree less busy parts of the academic calendar and program, while an additional 30 students have declared insists on maintaining the same high expec- an interschool double major. Taken together, dual- tations for dual-degree students as he does degree and double-major students currently account for students focused exclusively on piano for almost 45 percent of the school’s 400-member performance: “I make it clear to everyone in undergraduate population. “For the past three decades, Jeffrey Li my studio that I will not compromise on the the Bienen School has developed a unique position as standard of excellence that students need to a leading music institution that encourages students to achieve.” This attitude does not pose a prob- achieve artistic excellence while exploring their inter- lem for students with multiple interests, says ests in a second area of study,” says Linda Garton, the Bienen School’s Chow, because “they are typically extremely ambitious, have become assistant dean for student affairs. “The growing popularity of the school’s adept at managing their time effectively, and don’t want their professors dual-degree and double-major options is only one of many indicators to make exceptions for them.” that the school provides a welcoming environment for students with In many ways, the Bienen School experience of 2011 dual-degree multiple interests.” graduate Jeffrey Li perfectly exemplifies Chow’s observations. When The high rate of participation in the Bienen School’s dual-degree asked to reflect on his undergraduate career, Li describes his choice and double-major programs may be surprising, given the widespread to attend Northwestern as the “best decision of my life” because opinion—prevalent at many peer institutions—that young musicians “Northwestern was the only school where it was possible for me to must demonstrate a single-minded dedication to their art if they are to reach my full potential.” As a talented high school cellist with outstand- advance professionally. From an institutional perspective, however, this ing ability in math and science, Li decided to pursue two demand- view is roundly rejected in the Bienen School, where faculty members ing fields in college—music and computer science. After exhaustively recognize that many students have the desire, talent, and work ethic to researching many of the country’s best schools, he concluded that succeed in more than one field. “Having trained at Juilliard, I understand Northwestern was his only logical option. “I was initially interested the belief that students cannot maintain academic interests if they want in Northwestern because I knew it had great programs in music and to be serious musicians,” says Gerardo Ribeiro, professor of violin and computer science, a combination none of the other schools I was music performance department cochair. “To be honest, I once held a considering could offer. When I found out that the Bienen School

SPRING 2013 7 “By relying on some of the organizational, experimental, and analytical skills I developed in science, I have taught myself how to practice much more efficiently.” —Kyle Kremer

also has well-established options for students who want to earn degrees students in economics have developed analytical skills that help them in more than one area, I became determined to study there.” learn repertoire at an accelerated pace. And physics majors are provided After completing his rigorous five-year undergraduate program in with a deep understanding of acoustics, something that is particularly an unprecedented four years, Li surpassed his initial goals by graduat- beneficial for voice students.” ing with bachelor’s degrees in cello and computer science, prevailing In this vein, the achievements of Kyle Kremer as a double major in against stiff competition to win the annual Northwestern Concerto trumpet and physics clearly illustrate how students often form symbiotic Competition, and securing an attractive job at Microsoft. Now work- connections between seemingly unrelated disciplines. Although Kremer ing outside San Francisco as a software matriculated at Northwestern intending engineer by day, Li regularly com- to major exclusively in trumpet perfor- petes in major cello competitions for mance, he soon realized that he couldn’t young artists and is pursuing a profes- be happy without also studying physics, sional music career by night. “I feel which he regards as one of his “greatest incredibly fortunate to have attended passions.” While Kremer initially didn’t Northwestern,” he emphasizes. “The see a link between his interests in music quality of my career preparation in and science, he eventually realized that two very different disciplines was they were fundamentally intertwined. amazing—exactly as I anticipated it “When I play the trumpet, I’m using my would be.” creative mind, which allows the analytical When he enrolled at Northwest­ Kyle Kremer faculties I utilize in physics to relax and ern, Li knew he would be pushed to become rejuvenated,” he says. Conversely, excel in both his fields, a challenge he because he pursued a highly demanding welcomed. “During my college search, second major, Kremer explains that he had to I suspected that some schools with great computer science programs learn how to maximize his limited practice time for the trumpet. “By might not enforce the most stringent standards for musicians,” he says. relying on some of the organizational, experimental, and analytical skills “In coming to Northwestern to study with Hans Jørgen Jensen, one I developed in science, I have taught myself how to practice much more of the best cello teachers in the world, I knew that I would be trained efficiently over the past few years and can now accomplish as much or to perform at the highest level even as I pursued a second degree in more in three hours than I had previously achieved in five or six hours.” computer science. The opportunity to succeed in two distinct areas Kremer’s undergraduate career demonstrated that physics and is something I find incredibly exciting about Northwestern and the trumpet study can indeed be compatible. During his four years at Bienen School.” Northwestern, he thrived in the Bienen School’s celebrated brass pro- According to Jensen, a cello professor who has taught dozens of gram, frequently playing lead trumpet in the Northwestern University dual-degree and double-major students during his more than 20 years Symphony Orchestra and attracting praise as “one of the top trumpet at the Bienen School, Li’s ability to excel as a cellist while pursuing a players in the country” from trumpet professor Barbara Butler, his prin- difficult second field of study reflects a quality prevalent in many stu- cipal studio teacher. At the same time, Kremer also amassed an unparal- dents with multiple interests. “In most cases, dual-degree and double- leled record of achievement in Northwestern’s highly ranked physics major students have very agile minds because their studies ensure that program. In his final two years at Northwestern, he authored an article they regularly use all of their creative and analytical ability,” says Jensen. on the evolution of binary star systems that was published in the world’s “This training makes them quick thinkers and outstanding problem premier astrophysics publication, completed a second article that will solvers. As a result they have the capacity to develop strategies for man- also be published in a leading academic journal, and secured two of the aging their time in the most effective ways possible and to maximize nation’s most prestigious awards for undergraduate math and science the results they achieve while practicing their instruments.” students—the Barry M. Goldwater and Winston Churchill Scholarships. Expanding on Jensen’s views, Karen Brunssen, associate professor Currently studying astrophysics at the University of Cambridge in of voice and Department of Music Performance cochair, argues that conjunction with his Churchill Scholarship, the 2012 graduate intends engaging in a second field of study inevitably complements the pursuit to continue playing trumpet and pursuing physics research at a high of excellence in music performance. “Students who couple their study level for the foreseeable future. “My hope is that I will eventually be of voice with an art history major, for instance, obtain a fuller under- able to run a physics lab while also maintaining an orchestra position,” standing of the repertoire they are learning, due to their expanding says Kremer. “I’ve never wanted to choose between the two areas that knowledge of culture and history,” she says. “Similarly, dual-degree mean so much me. And my experience in the Bienen School—the only

8 FANFARE “So much of what I have accomplished thus far and so much of what I aspire to achieve is tied to the mutually beneficial relationship I’ve discovered between my performance and academic careers.” —Zachary Pfau

place where I could have achieved all of the goals I set for myself— future creative projects. “So much of what I have accomplished thus far has proven to me that I don’t have to sacrifice one of my interests and so much of what I aspire to achieve is tied to the mutually benefi- for the good of the other.” cial relationship I’ve discovered between my performance and academic Like Kremer, Zachary Pfau (BM in saxophone and BA and MA in careers,” he observes. “Looking back on my time at Northwestern, I French, 2008) initially saw little overlap between his two areas of study. can’t imagine having engaged one field without also committing myself Declaring a French major for a mixture of intellectual and practical rea- to the other.” sons, Pfau recalls that he “had always been attracted Echoing many of Pfau’s views, alumnus to the idea of completing a French major, Andrew Nogal also sees the relationship between because the saxophone has historical roots in his dual-degree disciplines as interdependent France.” But he also realized that a second degree rather than antagonistic. A 2007 graduate in in that area “could be extremely valuable in fields art history and oboe who studied with Bienen such as teaching, writing, and translation.” School faculty member and Chicago Symphony As his undergraduate career progressed, Orchestra oboist Michael Henoch, Nogal con- however, Pfau found that studying French didn’t tends that “the study of art history and the study simply improve his extramusical career pros- of music mutually inform one another.” In one pects. Rather, his second major also proved to respect, says Nogal, his music background led be a crucial asset in helping him win significant him to succeed in art history, because “seriously recognition within the saxophone community. engaging with music prepared my mind for the This point was thrown into dramatic relief kind of detailed thinking employed by art his- during Pfau’s watershed year of 2008 when torians.” Similarly, Nogal believes his exposure his Amethyst Saxophone Quartet swept three to art history elevated his musicianship, because high-profile competitions—the Music Teachers “much of that discipline focuses on the devel- National Association Collegiate Chamber Music opment of precise, descriptive vocabularies and Competition, the Coleman Chamber Ensemble analogies.” This practice, Nogal observes, “proved Competition, and the Fischoff International essential to my musical development, allowing Chamber Music Competition—and he received me to discover a language that articulated what Zachary Pfau a Fulbright Scholarship to study with acclaimed I wanted to sound like as an oboe player.” French saxophonist Jean-Michel Goury at the Six years after concluding his undergraduate Boulogne-Billancourt Conservatory. career, Nogal (who went on to earn a master’s degree from the Bienen “Throughout my time in the Bienen School, I was encouraged School in 2010) says his identity as a professional musician continues by my mentor, Frederick Hemke—now a professor emeritus since to be fundamentally shaped by his knowledge of art history. A member his retirement in 2012—to learn about language, history, and philoso- of the award-winning new-music group Ensemble Dal Niente and phy, because he felt that knowledge in these areas often spurs artistic a participant in several other successful music projects, Nogal believes growth,” he says. “Based on my experience at Northwestern, this view his ability to filter his understanding of music through the analytical is accurate, because part of the reason my saxophone performance framework of his art history background has allowed him to make sig- improved is that I was gradually acquiring the ability to place the music nificant creative contributions to his performance ensembles. “In many I was playing in a broader historical and cultural context. My grow- cases I can use concepts from the visual arts to help promote greater ing understanding of French literary, intellectual, and cultural traditions musical understanding within a collaborative context,” he says. “These helped me form a deeper connection to the saxophone repertoire.” concepts help my fellow group members and me define new ways Equally important, Pfau observes, is that “it would have been impossible to approach our music and identify new possibilities for what we can to win a Fulbright Scholarship without gradually acquiring the writing achieve artistically.” ability—honed through the demanding writing requirements of a major Although Li, Kremer, Pfau, and Nogal vary in their aspirations, in the humanities—required to assemble a persuasive proposal for a achievements, and understanding of the relationship between their highly competitive selection process.” musical interests and their second fields of study, they share a common Today Pfau continues to rely on his strong communication skills quality: a seemingly insatiable appetite for exploring the limits of their to connect with audiences while performing in Europe with Quax, his creative and academic abilities. “A recurring theme among dual-degree new saxophone quartet, as well as working towards a doctoral degree in and double-major students is their avid curiosity,” says Garton. “Many of musicology at the Sorbonne and preparing grant proposals to support these students aren’t satisfied with knowing a little bit about something

SPRING 2013 9 —they want to maximize their learning no that she has a great reputation among matter what the subject matter.” For that so many dual-degree and double-major reason, she says, “Bienen School adminis- students, who typically interact with trators often hear from faculty members many administrators and advisers across in other schools that our dual-degree and Northwestern.” double-major students are some of the most Because dual-degree and double- valued members of their classes. They are major students widely acknowledge that known both for asking unusually insightful the Bienen School has created a highly questions and for deeply engaging with the favorable environment for their studies, subject matter.” many wonder why more of their peers It would be impossible for these don’t take advantage of the opportunity students to explore their curiosity so to, as Li puts it, “explore multiple paths thoroughly, however, without assistance to success.” From Kremer’s perspective, from an engaged administration and faculty. Andrew Nogal the answer lies in a persistent myth sur- “One of the things that I really appreci- rounding these programs. “Many students ated about my experience as a dual-degree I know have hesitated to pursue more student was the support of my studio professor, than one degree or major because they Michael Henoch,” says Nogal. “He frequently asked me questions about think their workloads would be unmanageable,” he says. “People some- what I was studying and encouraged me to get the most out of my times think you need to be a genius to pair music with another field. education. Because the process of working toward a dual degree can be But I tell anyone who will listen that this isn’t the case.” Kremer’s view daunting, his concern for my progress outside the studio meant a lot to is confirmed by Garton, who notes that “both the dual-degree and me.” According to Kremer, Nogal’s experience was not unique. “When double-major programs have been structured to ensure that students are I told my studio instructors that I wanted to declare a physics major, not required to overload their schedules.” As Garton says, students in they helped me formulate a plan for how I could succeed in both of these programs “aren’t necessarily taking more classes than single-major my areas of interest—not just at Northwestern but in my life beyond students in a given quarter, but they are completing a greater concentra- Northwestern, too,” recalls Kremer. “And from what I’ve observed, the tion of courses in their chosen areas of specialization.” Consequently, way I was treated is common within the school.” while these students may not need to work any harder than many of As Kremer’s comments suggest, maintaining a clear line of com- their peers, they do need to plan more carefully to meet the appropriate munication between studio faculty and dual-degree or double-major curricular requirements. students is crucial to ensuring student success. For many faculty mem- As understanding of the dual-degree and double-major options bers, establishing such dialogue is easily accomplished. “First of all, I grows, Ribeiro predicts that the popularity of these academic programs like to talk with my dual-degree and double-major students simply will continue to rise. “The era of specialization is over,” Ribeiro con- because they are interesting people—a lot of times it’s possible to learn cludes. “For most musicians today, it is impossible to be only a soloist. from them,” says Jensen. “But it’s also essential for me to know what You also need to be a chamber music player, a teacher, and maybe an their academic schedules are going to be like for the quarter. That way, administrator or entrepreneur, too. The dual-degree and double-major we can plan when they are going to be able to practice with the most programs respond to these changing demands within our culture by intensity possible and when they will have to reduce their practice time providing skills that allow students to flourish personally and profes- to focus more on their academic work.” While Jensen maintains the sionally.” Noting that “some of the top conservatories are trying to same high standards for all his students, he recognizes that “it’s important emulate the Northwestern dual-degree program by partnering with to be flexible with students who have demanding schedules.” universities in their regions,” he points out that such partnerships entail For many dual-degree and double-major students, the guidance many logistical difficulties that do not arise at Northwestern, where the they receive from Garton in her role as assistant dean for student affairs Bienen School and the broader university are already tightly connected. is as important as the support of their studio instructors. “Linda Garton Nevertheless, Ribeiro finds the trend fascinating. “It used to be that really knows how to cut through red tape,” says Kremer. “A major Northwestern was an anomaly among top music institutions,” he says. concern for dual-degree and double-major students is class scheduling “But now the Bienen School appears to represent the future of music because there are so many requirements to fulfill. She always does as instruction. And because of our unique resources and carefully devel- much as possible—and sometimes more than students think is possible oped dual-degree and double-major programs, the future for the Bienen —to make sure that students stay on track. I don’t think it’s a coincidence School is extremely bright.”

10 FANFARE LOOKING BACK, MOVING FORWARD Opera Program’s New Vision Defined by Director’s Wealth of Experience

by Will Kazmier

When Michael Ehrman became the Bienen School’s new director of opera in fall 2011, he set two interrelated goals for the program: to increase its level of professionalism and to raise its stature. Now in its second year under Ehrman’s leadership, the program is steadily achieving these objectives. “With the support of the Bienen School’s administration, we have been able to make many changes that will benefit the artistic growth and career development of our students,” says Ehrman. “I’m very excited about the direction of the opera program.” Over the past 18 months Ehrman has devoted much of his energy to enhancing the school’s training of voice and opera students. Implementing both far-reaching and subtle improvements to the opera program, he has increased the frequency of guest artist visits and residencies, augmented the amount of acting instruction available to students, expanded student performance opportunities, placed a new emphasis on staging regional premieres of contem- porary American works, and committed the program to presenting more operas in their original languages. “All these changes are designed to align the Bienen School’s opera program with the professional opera world,” Ehrman explains. “To strengthen the program as a train- ing ground for young opera talent, I believe we need to deepen its connections to major opera artists and to reflect developments that have reshaped many of the coun- try’s most important opera companies over the past several years.” As Ehrman emphasizes, one area of the program requiring no improvement is vocal coaching. “Our coaches—Richard Boldrey, Alan Darling, and Kenneth Smith—are simply outstanding,” he says. “In their careers outside the Bienen School, they work with major artists in the opera world and are highly respected throughout the profession.”

SPRING 2013 11 Preceding page: sophomore Maria Massucco in the fall production of Bastianello

In assuming leadership of the school’s from the Oklahoma Dust Bowl to California and Santa Fe Opera. Moreover, Gordon and opera program, Ehrman has reclaimed a posi- in search of a better life. A technically chal- France have each established reputations as tion he previously held from 1996 to 2000. lenging work that incorporates a diversity of outstanding mentors for young performers. In addition to his prior appointment at North­ musical styles, Gordon’s opera has been her- “This was a great opportunity for our students alded by critics as an “epic of Wagnerian pro- to work with two well-known figures in the western, his background as an educator includes portions,” “a work of mesmerizing scope,” and opera profession,” says Ehrman of the winter- directing engagements at schools such as Yale “an achievement of monumental dimensions.” quarter residencies. “Ricky and Hal gave our University and Indiana University as well as The Bienen School’s production students a depth of perspective that is essential oversight of numerous young artist programs. attracted glowing reviews. Congratulating to their artistic growth.” The majority of his three-decade career, how- Northwestern for “taking up the slack with In conjunction with its staging of ever, has been spent at a variety of regional respect to significant recent American operas The Grapes of Wrath, the opera program opera companies, and his vision for elevating Chicago’s professional opera companies have implemented a new initiative to use veteran the program is largely informed by that expe- ignored,” John von Rhein of the Chicago singers in parts that require mature singing rience. With more than 150 directorial credits Tribune lauded the school’s “remarkably fine” voices. Because the demanding role of Uncle on his résumé, Ehrman has staged productions and “gripping” presentation of Gordon’s John could have caused vocal damage to for the Houston Grand Opera, Minnesota important work. Von Rhein also noted the any student attempting it, Ehrman invited Opera, Chautauqua Opera, Boston Lyric program’s impressive level of talent and singled celebrated baritone Robert Orth, who origi- Opera, and Chicago Opera Theater. Last out several standout student performances. nated the role in the work’s 2007 premiere, summer he directed a well-received staging of The Magic Flute at the Ravinia Festival, where he will return this season. “This was a great opportunity for our students to work with A recent indicator of the opera program’s gathering momentum under Ehrman’s direc- well-known figures in the opera profession.” —Michael Ehrman tion was its fall production of two one-act The Tribune’s praise prompted an outpour- to reprise his performance. “Robert’s presence comedies, Bastianello by John Musto and ing of attention for the Bienen School and in rehearsals was immensely valuable for our Lucrezia by Grammy winner William Bolcom. Ehrman from prominent figures in the opera students,” says Ehrman. “They were able to Commissioned by the New York Festival of world. “My Facebook account and voicemail learn how an experienced performer prepares Song at Carnegie Hall, both operas had been have exploded with hundreds of congratula- for his role, to understand the reasoning performed only in concert prior to their full tory messages from friends, acquaintances, and underlying his artistic choices, and to observe staging at Northwestern. Complementing former colleagues at opera companies across his dedication to his craft. By working along- the Bienen School’s novel production of the country, including members of the origi- side him, our students were provided with the double bill were two postperformance nal Grapes of Wrath cast,” Ehrman reports. “The a great example of the professionalism and meet-the-composer conversations featuring reaction to our production has been incredibly work ethic performers must exhibit to estab- Bolcom and Musto, who traveled to Evanston gratifying because it has fostered a new level lish themselves in the opera world.” for the regional premiere of their works. of awareness regarding the deep opera talent The decision to cast experienced per- From Ehrman’s perspective, these question- pool we have at Northwestern. This recogni- formers like Orth in the school’s opera pro- and-answer sessions provided a great learn- tion will boost our reputation throughout ductions has major implications both for the ing experience for students by providing the profession.” program and for the broader performance insight into the creative process of two major In addition to providing greater visi­ community. “There’s simply no way we could American composers. Equally important, by bility for the opera program, the production have mounted The Grapes of Wrath or an opera coming to Evanston, the composers learned offered significant educational opportunities of similar scope without using a veteran singer about Northwestern’s opera program. “During for student performers, who were prepared in the cast,” says Ehrman. “And if we hadn’t the performances of their operas, Bolcom and for their roles by the Gordon and guest presented it, many students would have been Musto were able to observe the high qual- conductor Hal France—both accomplished denied opportunities to take the stage.” As ity of our student performers,” says Ehrman. artists—during Bienen School residencies Ehrman explains, Gordon’s work offers 13 “Their visit was a significant development in January and February. Gordon’s work— principal parts and an additional 40 singing because it will help raise awareness of our pro- which includes nine operas, five musicals, ten roles, meaning that the production featured gram within the professional opera world.” song cycles, and four ballets—has been per- a record number of more than 50 student Even more ambitious was the program’s formed by renowned singers such as Renée soloists. Ehrman further notes that sprawl- Chicago-area premiere of Ricky Ian Gordon’s Fleming, Dawn Upshaw, Nathan Gunn, Kelli ing operas like The Grapes of Wrath have the The Grapes of Wrath during winter quarter. O’Hara, and Audra MacDonald. France has positive effect of promoting collaborations Adapted from John Steinbeck’s classic 1939 conducted for prestigious companies such as between the opera program and other areas novel, the opera traces the physical and spiri- the Houston Grand Opera, New York City of the school. Because Gordon’s opera calls tual journey of the Joad family as it migrates Opera, Minnesota Opera, Chautauqua Opera, for a major choral presence, for instance, the

12 FANFARE The winter opera production of The Grapes of Wrath entire 40-member University Chorale— repertoire. “With the selection of Poppea for intellectual framework for understanding prepared by Donald Nally, the Bienen School’s our spring production, we are making a swift Monteverdi’s creative achievement.” This is the director of choral organizations and a former transition from the previous quarter’s con- 16th installment of the Dunbar Early Music Lyric Opera of Chicago chorus master— temporary American opera to a classic Italian Festival, founded in 1998 by Ruth Dunbar participated in the production. Similarly, the baroque work,” he says. “The diversity of Davee (G37, G42) in memory of her sister. opera’s 55-member orchestra included approx- styles and periods encompassed in this shift A longtime member of the Music Advisory imately twice the number of musicians needed will challenge students to learn a range of Board until her death in 2011, Davee left an for some Bienen School operas. “It’s clear that new vocal techniques and establish their ver- indelible imprint on the school by establishing the program’s ability to engage a project of satility as performers.” Ehrman adds that the the Evelyn Dunbar Visiting Artist Series, the this scope enhances the educational experi- decision to mount a baroque work coincides Davee Distance Learning Initiative, and the ence for students throughout the school’s with a programming trend in the professional Davee Online Media Library in addition to Department of Music Performance,” Ehrman opera community, which has recently seen a the Early Music Festival. observes. “As a result, we will continue to baroque revival. “For the purposes of artistic Looking further into the future, Ehrman rely upon the veteran singer’s initiative when and career development among our students,” is confident that the opera program will appropriate opportunities arise in the future.” he observes, “it makes a lot of sense for us to continue to gain momentum, particularly by With its upcoming spring production stage Monteverdi.” staging more regional premieres and arranging of Claudio Monteverdi’s baroque masterpiece Notably, L’incoronazione di Poppea will new guest artist residencies. Adding to Ehrman’s L’incoronazione di Poppea (The Coronation also serve as the centerpiece of the annual enthusiasm is the excitement of returning to of Poppea), the opera program will con- Evelyn Dunbar Early Music Festival, a major his alma mater, where he embarked on his tinue advancing toward its goals. The first collaboration between the music studies and directing career more than three decades ago. opera to incorporate historical figures and music performance departments. The produc- “After 30 years of working in opera, I have events instead of borrowing plot elements tion will feature an authentic baroque orches- developed a clear understanding of how major from classical mythology, Poppea established tra, including three baroque music experts opera companies operate and have established Monteverdi’s reputation as one of the 17th playing period instruments—the theorbo, many connections within the professional century’s leading dramatists. Subverting lirone, and triple harp—alongside student opera world,” says Ehrman. “It is incredibly conventional morality by chronicling the musicians. Prior to opening night, a sympo- gratifying to find myself in a position where ascent of the ruthless Poppea—mistress of sium will bring together several opera scholars I can use these assets to benefit a new genera- Roman emperor Nero—in her illicit scheme for presentations and panel discussions on tion of artists.” to become empress of Rome, the opera is Monteverdi’s life and work. “The festival will If experience is the best teacher, then notable for its complex depiction of human showcase the rich educational environment Ehrman is well on his way to lifting the opera behavior and emotion. To be sung in Italian offered by the Bienen School,” says senior program to new heights. By leveraging his with English supertitles, Poppea is scheduled lecturer Stephen Alltop, the spring opera’s extensive professional background to benefit for performances on May 24 and 25. music director. “In keeping with its mission, the Bienen School, Ehrman will better prepare As Ehrman observes, presenting this event will unite scholars and artists to students to achieve success in their careers and L’incoronazione di Poppea affords students engage with one of opera’s most important thereby raise the Bienen School’s profile as an an excellent opportunity to broaden their composers and provide students with a strong incubator for rising young operatic talent.

SPRING 2013 13 A Passion or t NEW RECITALPer ormingHALL NAMED� A INrts HONOR�� OF MARY� B. GALVIN

by Will Kazmier

or the past five decades Mary B. Galvin will serve as a source of inspiration and great Galvin family’s long-standing connections has played a major role in fostering the pride for Bienen School students and faculty.” to Northwestern. Mary Galvin earned her performing arts at every level of society. As the building’s premier performance bachelor’s degree in communication from Through her vision and generosity, she showcase, the auditorium will be the site of Northwestern in 1945. Her late husband, has supported musical education for the numerous student, faculty, and guest artist con- Robert W. Galvin—chair and CEO of young, enriched the cultural landscape certs each year. The visually striking space will Motorola from 1959 to 1986—was awarded Fin her hometown of Chicago, helped advance feature a 50-foot-high glass backdrop fram- an honorary degree by the University in the international careers of promising violin- ing a dramatic view of Lake Michigan and 1992. Their son Christopher B. Galvin, who ists, and stressed the importance of music as the Chicago skyline. Other highlights include succeeded his father as Motorola chairman a tool for promoting greater cross-cultural undulating wooden walls for optimal acoustics and CEO, is a member of Northwestern’s understanding. Guided by the fundamental and state-of-the-art sound and video equip- Board of Trustees; he earned a BA from the belief that a thriving artistic culture is a ment for recording. Weinberg College of Arts and Sciences in necessary precondition for a healthy society, “The decision to build this new home for 1973 and an MBA from the Kellogg School she has been, in short, a global citizen of the the Bienen School of Music was an important of Management in 1977. Additionally, seven performing arts world. step by the Northwestern University Board other members of the Galvin family have It is only fitting, then, that the recital hall of Trustees, and we very much appreciate the completed undergraduate or graduate degrees in the Bienen School of Music’s new facility commitment of Chris Galvin and the other at Northwestern. —scheduled for completion in summer 2015 members of his family,” says Board of Trustees “When I originally saw the plans for this —will be a testimony to her life and accom- chair William Osborn. “Our music school plays remarkable recital hall, I immediately thought plishments. Just as Mary Galvin has advanced an important role in the Chicago music com- that it had to have my mother’s name attached the interests of the performing arts commu- munity, and this new facility will enhance that.” to it,” says Christopher Galvin. “Given our nity, the recital hall will figure prominently The Galvin Foundation’s gift to the family’s close ties to Northwestern and our in realizing the school’s decades-long goal of Bienen School will further strengthen the history of supporting innovation in a variety occupying a facility that will enhance its edu- cational efforts and reflect its reputation for excellence. To honor her many contributions to the arts, the Robert W. Galvin Foundation has made a gift of $6 million to the Bienen School, a donation that will extend her legacy many generations into the future. In recogni- tion of the Galvin Foundation’s generosity, the Bienen School will name the new build- ing’s 400-seat auditorium the Mary B. Galvin Recital Hall. “The recital hall will be the centerpiece of our new building,” says Dean Toni-Marie Montgomery. “We are extremely grateful for the support of the Galvin Family and the Galvin Foundation. Mary Galvin has made a significant impact on the careers of musicians worldwide. The Mary B. Galvin Recital Hall The Stradivari Society with cofounders (seated) Mary B. Galvin (right) and the late Geoffrey Fushi (left)

14 FANFARE of institutions, I felt that the opportunity to name the recital hall after Mary B. Galvin presented an ideal way to honor a wonderful mother and grandmother.” As Christopher Galvin observes, his mother exemplifies “the kind of positive and unique contributions individuals can make to society by selflessly following their pas- sions.” In her case, a devotion to music began at an early age. She was raised in a musical household (her father was a self-taught multi- instrumentalist) and studied violin as a child. This introduction to music spurred her later involvement in two programs promoting the development of young musicians. In 1985 Mary Galvin cofounded the providing young violinists with invaluable Galvin’s view of the performing arts as an Stradivari Society, which lends some of the musical, cultural, and educational experiences. essential component of a stable society extends world’s great Stradivarius and Guarneri del She considers the ensemble especially worthy beyond Chicago and has even influenced Gesù violins to emerging artists around the of her patronage because it relies on a Suzuki- international relations. In the early 1990s, for globe. These extremely rare and valuable 17th- based teaching method that prepares children example, she encouraged Motorola to sponsor and 18th-century Italian instruments would to succeed in many facets of life. “Learning a Chicago Symphony Orchestra tour of Japan. ordinarily be inaccessible to most rising young music from memory encourages young people Ten years later she traveled to Beijing, present- artists. Yet their uniquely rich sound is particu- to use all of the major areas of the brain and ing a Stradivari Society–sponsored violinist larly important to talented violinists seeking to helps them make the most of their creative in a private concert for Chinese leaders Hu establish themselves as professional musicians. and intellectual ability,” she says. “The Magical Jintao and Jiang Zemin prior to their 2002 “The opportunity to play on an exceptional Strings of Youth program demonstrates the transition of power. “Each of these cases dem- instrument like a Stradivarius often gives power of music to positively influence the onstrates my mother’s belief in the power of promising musicians the boost they need to lives of those it touches in many different ways.” music to communicate and strengthen global secure appearances at important venues around In addition, Mary Galvin has played relationships,” says Christopher Galvin. “She the world,” Galvin explains. “My belief is that a significant role in shaping several of the recognizes the importance of music as a tool if these young people are willing to work as nation’s most venerable arts institutions. A past for establishing common ground between hard as they do—practicing from five to eight board member of the Kennedy Center, the people of different backgrounds and traditions.” hours per day—then someone should be will- Chicago Symphony Orchestra, Lyric Opera The naming of the new music build- ing to help them move along in their careers.” of Chicago, and the Joffrey Ballet, she was ing’s recital hall in honor of Mary Galvin Over the past three decades the Stradivari motivated to help these organizations flour- reflects the school’s gratitude for the Galvin Society has lent instruments to approximately ish by her “recognition of the fundamentally Foundation’s support and honors her lifelong 100 of the world’s most promising young important role the arts play in creating a well- contributions to the performing arts. Because musicians, contributing to the careers of such balanced society,” says Christopher Galvin. In the recital hall will occupy a position of cen- internationally renowned soloists as Midori, the Chicago area her vision is perhaps most tral importance within a transformative facility, Joshua Bell, and Gil Shaham. “It’s important dramatically exemplified by her decisive role it is especially appropriate that the auditorium that great instruments are placed in the hands in convincing Gerald Arpino, former artis- will bear her name. As her varied endeavors of the most talented musicians,” she says. tic director of the Joffrey Ballet, to move his demonstrate, she has long sought a place for “Having access to these violins allows young dance company from New York to Chicago the arts at the center of society. By providing artists to gain the attention they deserve in 1995. “At the time Chicago had a world- a performance space that will inspire Bienen while sharing their gifts with the broadest class symphony orchestra and opera but no School students to reach their artistic potential audience possible.” leading ballet, something I thought was very and enhance the school’s pursuit of its edu- In addition to her work with the Stradivari important for the city’s cultural life,” she says. cational mission, the Mary B. Galvin Recital Society, Mary Galvin also supports a Chicago- “So I worked for several years to convince Hall will reflect her passion for music and her area violin ensemble, the Magical Strings of Gerald Arpino that Chicago was the right belief that the performing arts are integral to Youth, for children ages 4 to 17. Through place for the Joffrey Ballet. Eventually he was human experience. her sponsorship the group regularly performs persuaded, and I think the move has proved across the United States, Europe, and Asia, beneficial for the city.”

SPRING 2013 15 The Civic Orchestra of Chicago performing in Symphony Center

THE NEXT STEP Training Orchestras Help Launch Careers by Will Kazmier

s one of the nation’s top institutions of its kind, the Bienen School of Music routinely places its graduates in major orchestras around the globe. This success is best explained by two of the school’s most widely recognized attributes: a renowned faculty and outstanding students. Each year approxi- A mately 2,000 applicants audition for 200 openings in the school’s highly selective undergraduate and graduate programs, and the admitted students rank among the country’s finest young musicians. The Bienen School’s faculty of internationally respected artists and pedagogues includes many current and former mem- bers of the Chicago Symphony Orchestra, the Lyric Opera of Chicago Orchestra, and other world-class arts institutions, and their high-level performance experience informs their approach to preparing students for seats in major orchestras. For young musicians entering the competitive world of professional orchestras, however, exceptional talent and extraordinary instruction cannot guarantee success. Recognizing the importance of real-world experience in advancing the careers of promising instrumentalists, the Bienen School consistently encourages its students and recent graduates to complement their college education with the unique practical knowledge provided through participation in two elite training orchestras, the Civic Orchestra of Chicago and the New World Symphony of Miami. Both organizations have established reputations as premier educational programs by immersing talented instrumentalists in musical environments modeled after professional orchestras. Each orchestra exposes its members to the culture and standards of professional music making, provides extensive performance opportunities, offers coaching from leading artists, develops audition skills, and emphasizes the importance of audience and community engagement. In pursuing these objectives, the Civic Orchestra and New World Symphony help prepare young musicians to win seats in professional orchestras and better posi- tion them to become leaders in their music communities.

16 FANFARE According to Matthew Muckey, associate principal trumpet of the New York Philharmonic and a 2006 Bienen School graduate, the Civic Orchestra and New World Symphony frequently guide young musicians toward the next step in their careers by bridging the divide separating preprofessional and professional musicians. “Even though I was trained in what is arguably the top trumpet studio in the country, it wasn’t clear to me exactly what I needed to do to win an audition until I performed with the New World Symphony and Civic Orchestra of Chicago,” says Muckey, a former student of professors Barbara Butler and Charles Geyer. “There’s often a fine line that separates successful auditions from unsuccessful ones—and sometimes the only way to cross this line is by From left: Matthew Muckey, Ethan Bensdorf, Doug Rosenthal performing in orchestras like the New World and the Civic that have professional-level expectations and are known for delivering high-quality colleagues there were both talented and focused,” recalls Bensdorf, who performances. It was only through my participation in these ensembles like Muckey studied under Bienen School professors Barbara Butler and that I came to fully understand what it takes to succeed as a professional.” Charles Geyer. “The Civic is a professional-quality orchestra where the Although the Civic Orchestra and New World Symphony share musicians are deeply committed to elevating their performance skills. a common mission and, as Muckey’s comments suggest, frequently elicit The combination of talent, energy, and dedication among Civic mem- similar praise from the many Bienen School alumni who have played bers was very inspiring and helped motivate me to improve my skills as in them, their unique identities are the products of distinct governing a musician.” philosophies, pedagogical strategies, and organizational histories. Con­ From Bensdorf’s perspective, the Civic’s training program is sequently, while both orchestras promote the development of young equally impressive. “The Civic provided many incredible educational musical talent, they provide their members with noticeably different— opportunities that significantly built upon what I was learning in the though equally meaningful—educational experiences. Northwestern trumpet studio,” he says. “What made the training so valuable was that in many respects I felt like I was learning more than The Civic Orchestra of Chicago what it took to be a professional musician. I was learning what it took Approaching its 95th anniversary, the Civic Orchestra has helped initi- to be a member of a great ensemble like the Chicago Symphony ate thousands of orchestral careers, including many by Northwestern Orchestra.” alumni. The Bienen School has benefited from a close connection with As Hong explains, Bensdorf’s recollection of his Civic Orchestra the Civic Orchestra since the 1920s. Although exact statistics are not experiences coincides with the orchestra’s objectives. By capitalizing on available, more than 700 Bienen School alumni are estimated to have its unique affiliation with the Chicago Symphony Orchestra, “the Civic played in the orchestra, and an additional 15 students and recent gradu- provides young musicians with privileged access to the personnel and ates are performing with the Civic this season. Today, Civic-trained resources of one of the world’s great cultural institutions,” says Hong. Bienen School alumni play in the Houston Symphony Orchestra, “Civic musicians receive instruction and coaching from CSO musicians, Philadelphia Orchestra, Boston Symphony Orchestra, San Francisco perform at the historic Symphony Center with distinguished CSO Symphony, New York Philharmonic, and many other major ensembles. guest conductors, regularly interact with CSO music director Riccardo Requiring a part-time commitment from members, the Civic Muti and the orchestra’s creative consultant Yo-Yo Ma, are provided typically consists of recent college music graduates (approximately complimentary tickets to many CSO concerts, and have the opportunity 60 percent) and full-time undergraduate and graduate music students to participate in community outreach activities that foster their develop- (the remaining 40 percent). Because Civic musicians are limited to ment as citizen musicians.” Because the Civic offers the nation’s only two-year terms, the orchestra’s membership is constantly shifting. advanced orchestral training program that is associated with a major Nevertheless, the Civic has consistently earned recognition for its professional symphony, “orchestra members are thrust into a dynamic polished, professional-level performances. This enviable reputation is learning environment that cannot be duplicated elsewhere.” “partially attributable to the outstanding young musicians who consis- A major feature of this unique atmosphere is the coaching and tently audition for and are selected to play in the orchestra,” says Yoo-Jin instruction Civic members receive from the CSO’s principal players. Hong, director of the Civic Orchestra and training programs for the “The sectional rehearsals are invaluable because they often provide Chicago Symphony Orchestra. “Our membership includes many of the opportunity for Civic members to learn directly from legendary the best music students and young alumni from Chicago-area schools musicians, people who are mammoth figures in their field,” says Rudy such as Northwestern University, DePaul University, and Roosevelt Hasspacher (MM 2010), a violist who studied with Roland Vamos at University. The Civic also traditionally acts as a magnet that draws top Northwestern and currently plays with the Civic. “In my case, I have musicians from the best music schools and conservatories throughout been able to work closely with CSO principal violist Charlie Pikler, the Midwest and across the United States.” who has accumulated decades of experience performing at the high- Ethan Bensdorf, a 2007 Bienen School graduate who performed est levels in classical music. His knowledge of how many of the world’s with the Civic for two seasons before winning a position as second leading conductors choose to approach a given composition deeply trumpet with the New York Philharmonic, agrees with Hong’s assess- informs his coaching, which I have found extremely helpful.” Bensdorf ment. “Part of what I enjoyed about playing in the Civic is that my adds that “working with musicians of such a high caliber—hearing their

SPRING 2013 17 stories, observing their technique, and receiving instruction from them The New World Symphony in small group or individual settings—virtually guarantees that Civic When Michael Tilson Thomas established Miami’s New World members will substantially improve during their tenure in the orchestra.” Symphony in 1987, he intended it to serve as “a launching pad” for Another factor that many current and past Civic musicians credit the careers of promising young musicians from the nation’s top music with accelerating their musical development is the deep engagement schools. Although Tilson Thomas anticipated that the ensemble would with key canonical works afforded by the Civic’s rehearsal and perfor- function as a stepping-stone for emerging orchestral talent to win mance schedule. Typically the Civic prepares for each of its 11 con- employment with professional orchestras, he wasn’t content with build- certs per season by completing 10 full rehearsals under the direction ing an organization that served only as a means to that end. Indeed, he of the orchestra’s principal conductor, Cliff Colnot (PhD 1977). “This also set his sights on developing what he refers to as an “orchestral acad- approach to preparation is very different from that of a professional emy” that would provide its members—officially known as fellows— orchestra, which might only rehearse a program two or three times with an “intensity of experience capable of inspiring all they do in life.” before a concert,” says Doug Rosenthal (BM 2008), assistant princi- Now a fixture in the Miami cultural scene, the New World pal trombone for the Kennedy Center Opera House Orchestra and a Symphony appears to have exceeded Tilson Thomas’s ambitious goals. veteran of both the Civic and the New World Symphony. “As a result, Indeed, the intense experience that the conductor hoped to create is Civic musicians have the oppor- evident on numerous fronts. Operating as Miami’s de facto professional “THE COMBINATION OF tunity to learn repertoire in great orchestra, the symphony maintains a 30-week events calendar offering TALENT, ENERGY, AND detail, and they are being led by an New World fellows more than 80 performance opportunities each season. extremely talented teacher in Cliff DEDICATION AMONG Many of these concerts feature appearances by internationally renowned Colnot. He excels at dissecting the CIVIC MEMBERS WAS conductors, soloists, and orchestra musicians, who also provide fellows internal architecture of compositions, with extensive coaching and instruction during their visits. The orches- VERY INSPIRING AND in finding the most important les- tra typically plays in the recently opened New World Center, the post- HELPED MOTIVATE sons in each measure, and in provid- modern performance venue designed specifically for the New World ing musicians with a comprehensive ME TO IMPROVE MY Symphony by award-winning architect Frank Gehry. This state-of-the- understanding of their individual SKILLS AS A MUSICIAN.” art facility features a concert pavilion lined with video screens, 24 indi- parts and how those parts relate to —Ethan Bensdorf vidual rehearsal rooms, four ensemble rooms, three percussion rooms, the whole score.” Colnot’s emphasis and a 7,000-square-foot video projection wall where many of the sym- on mastering individual compositions helps musicians develop skills that phony’s concerts are shown. These “wallcasts” typically attract thousands are broadly applicable in learning additional repertoire. “Once you have to the symphony’s sprawling 2.5-acre campus, now an important Miami become deeply familiar with a piece by Mahler or Strauss, it becomes gathering place. Fellows participate in the orchestra on a full-time basis, easier for you to teach yourself how to play other works by those com- are housed in rent-free apartments overlooking Miami Beach, and posers,” says Rosenthal, who studied at the Bienen School with CSO receive stipends that allow them to focus exclusively on music. “The trombonist Michael Mulcahy. “This ability is essential for a number of amount of resources and brainpower that have converged to develop the circumstances, particularly in developing an original artistic voice and New World Symphony is remarkable,” says Jacob Nissly (BM 2005), a in preparing for auditions.” former New World fellow and Civic member who is now the principal In what is arguably the Civic’s most ambitious project for facili- percussionist for the Cleveland Orchestra. “The opportunities it provides tating its members’ artistic and professional growth, acclaimed cellist for musicians to realize their potential are seemingly endless.” Yo-Yo Ma—the CSO’s Judson and Joyce Green creative consultant— The New World Symphony’s success in providing a transformative has worked closely with Civic musicians this season to prepare them artistic experience is matched by its effectiveness in career development. for a late-spring “conductorless” concert—to be played entirely by Almost from its inception, the orchestra has enjoyed a reputation as a memory—featuring Beethoven’s Symphony No. 6 and Haydn’s Cello major pipeline for the nation’s top musical talent. Over the past quarter- Concerto in C. “This is an unprecedented opportunity in a couple of century, approximately 85 percent of all New World fellows have found ways,” says Civic principal violist Jonas Benson, a Bienen School master’s employment in professional orchestras. Given this impressive track student. “First, working under Ma’s guidance has provided an extended record, it is not surprising that Bienen School graduates have fared well master class for all Civic members in how we should conduct ourselves in winning orchestral jobs after their tenure as New World fellows. Since as professional musicians. Second, because his idea is to have us perform the orchestra’s formation, approximately 50 Bienen School alumni have without a conductor, Ma is encouraging all orchestra members, particu- played with the New World Symphony—including eight this season larly section leaders, to assert our artistic voices within the ensemble. By —and many of them now hold seats in major ensembles such as the challenging the way rehearsals and performances normally take place, he Cleveland Orchestra, Detroit Symphony Orchestra, St. Louis Symphony, is helping all of us form a deeper connection to the music we play and Bergen Philharmonic Orchestra, and New York Philharmonic. drawing out our creativity.” Hasspacher is equally enthusiastic about the Owing to the symphony’s standing as a premier national training upcoming concert’s positive effects. “In working with Yo-Yo Ma, I feel center for orchestra musicians, the New World routinely receives far like I have learned what it means to be a true musician,” he explains. more applications than it can accommodate. “Our audition process is “He has pushed all of us to expand our concept of music and—in my highly competitive,” says Ayden Adler, the New World Symphony’s dean case at least—advance musically in ways I hadn’t imagined. This trans- of musicians. “Orchestra auditions take place in major metropolitan areas formation wouldn’t be possible if I hadn’t been part of the Civic.” throughout the United States and attract graduates from the nation’s

18 FANFARE A New World Symphony “wallcast” at the New World Center, designed by Frank Gehry

world-class conductors and musicians. “Musicians from top orchestras all over the country—from New York and Philadelphia to Los Angeles and San Francisco—visit the New World Center on a weekly basis to work with the fellows,” says Carrie Schafer (BM 2007), second trumpet of the St. Louis Symphony. “I found this approach to instruction incred- ibly helpful, because it provided me with a variety of nuanced critiques of my playing and exposed me to a broad range of ideas I never would have encountered if I had only worked with one or two coaches over a longer period. As a result, I quickly discovered new areas where I could From left: Jonas Benson, Jacob Nissly, Carrie Schafer improve my technique and new methods for making those improve- ments.” Equally important is the social aspect of interacting with most prestigious music schools and conservatories. Musicians who are well-known musicians and conductors. “After you work in a perfor- accepted into the New World represent the cream of the crop in terms mance setting with conductors like Michael Tilson Thomas or David of the nation’s young musical talent.” Because the orchestra appoints Robertson, you’re more likely to perceive them as colleagues rather members for three-year terms, it generally has only 30 openings per than as musical deities,” says Schafer. “Acquiring this level of familiarity year, with more than a thousand candidates vying for those positions. with some really important figures in classical music helped me adopt a Once they enter the orchestra, New World fellows immediately relaxed attitude during auditions because I felt I had already begun to begin following a schedule that replicates a professional workload. Every establish a foothold in the profession. And being able to remain calm week of the season, the symphony rehearses three to five times and amid the stress of an audition is a big key to performing well and win- presents two or three concerts. As in professional orchestras, programs ning an orchestra seat.” change several times per month, and this routine plays a major role in While Schafer gained confidence in her auditioning ability through preparing members for future careers. “As a New World fellow, I wasn’t interactions with premier conductors, former Civic Orchestra and New forced to wonder if I could make it as a professional orchestra musi- World Symphony trombonist Doug Rosenthal credits a similar effect to cian, because from the moment I arrived in Miami, I was thrust into a the New World’s mock audition system. “Two of the many great things professional environment,” says Nissly, who studied with former Bienen about the New World Symphony were the amazing enthusiasm every- School faculty member Michael Burritt as an undergraduate. “In fol- one there had for music and the support that fellows demonstrated for lowing the New World schedule, I was performing frequently while one another,” says Rosenthal. “One product of this positive environment also balancing rehearsals with the process of learning new repertoire. By was a fellow-run mock audition system. New World members who are managing these different commitments, I gained confidence in myself planning on taking an audition generally start playing for a group of as a musician.” This newly developed self-assurance, Nissly contends, colleagues about six weeks ahead of time and continue to perform for “played a big role in helping me succeed during auditions.” them until their audition date arrives. Over the course of those prac- As they gain valuable performance experience, New World fellows tice auditions, fellows receive useful feedback on their performance and also enjoy the incalculable benefits of mentoring by a rotating roster of become used to the idea of performing under duress.”

SPRING 2013 19 The New World Center’s concert pavilion

An even more significant reason for Rosenthal’s success in the this focus makes a lot of sense since the competition for professional audition process, however, was the preparatory coaching the New World orchestra jobs is so intense.” But, adds Nissly, their community engage- provides from widely respected performance psychologists Don Greene ment programs serve as a potent reminder of another fundamental mes- and Noa Kageyama, who have more than 20 years of experience work- sage that can easily be overlooked amid the daily struggle to advance in ing with high-level musicians. “After I began working with Don and a demanding field: “If young musicians want to maintain a secure place Noa, I immediately became more competitive in my auditions,” says within the world of classical music, we need to help establish a more Rosenthal. “Their coaching played a big part in raising my performance prominent place for classical music within society.” level.” In Rosenthal’s view, though, coming to understand the connec- Reflecting on his participation tion between psychology and music performance was only one lesson “THE AMOUNT OF in the Civic Orchestra and the New he learned from Greene and Kageyama. Indeed, he also regards the RESOURCES AND World Symphony, New York Phil­ opportunity of working with these specialists as a particularly reveal- BRAINPOWER THAT harmonic trumpeter Matthew Muckey ing example of the New World’s wide-ranging approach to music HAVE CONVERGED TO says that he is “extremely grateful” for training.“The remarkable thing about the symphony is that it will do both training orchestras’ educational everything in its power and try every available approach to position DEVELOP THE NEW opportunities. “I feel lucky to have its fellows for success,” he explains. “It’s a very special place.” WORLD SYMPHONY played with the Civic and New World, IS REMARKABLE.” because I can see what an impact they make in the development of musical The Musicians of the Future —Jacob Nissly and the Future of Music talent,” he explains. “I frequently meet or hear great musicians who started their careers in the Civic or the Although the Civic Orchestra of Chicago and the New World Sym­ New World. Both of those orchestras are definitely teaching the right phony have adopted distinct approaches to training young musicians, things in the right way.” they overlap in their growing emphasis on community and audience Muckey’s comments—which mirror the sentiments of many engagement. Both training orchestras provide their members with former Civic Orchestra and New World Members—help illustrate instruction in developing meaningful outreach projects for the general the value of creating an educational environment that extends beyond public that will cultivate greater interest in classical music. The signifi- the Northwestern campus. In providing Bienen School musicians with cance of this work is not lost on its participants. “I consider community professional-level music experiences, the Civic Orchestra and New World and audience engagement projects some of the most important work I’ve Symphony offer vital links between the school and prominent orchestras done as a musician,” says Nissly, who focused on exposing traditionally worldwide. And the school’s ongoing connections to these organizations underserved populations to classical music as a member of both the are sure to boost the careers of Bienen graduates for years to come. Civic Orchestra and the New World Symphony. “The main emphasis in both training orchestras, of course, is on career development. And

20 FANFARE The New World Center’s concert pavilion ON THE CONCERT STAGE

Embracing Musical Diversity

by Richard Van Kleeck Director of Concert Activities

“Get yourself out of whatever cage you find yourself in.” —John Cage

While the renowned composer John Cage is thought to have offered the above advice Clockwise from above: Hopkinson Smith, So - Percussion, A Far Cry to fellow artists struggling to defy aesthetic conventions in their creative processes, his comments may also be extended to audiences who are often “caged” by their expectations about how music should sound plucking the spines of a Notocactus warasii one-time-only improvisation on “The and be defined. One enlightening and while using a contact microphone and a Presidential Election” soon became a fea- exciting way for listeners to escape their computer sampler, the group revealed the tured staple on National Public Radio in mental cages is by exploring the boundless hidden aural possibilities of “silent” objects. the weeks leading up to the 2012 election. landscape of musical expression, sounds, This intriguing performance was part of The new wave of conductorless, self- and instrumentation as fully as possible. the successful John Cage Festival, presented governed chamber orchestras was well Here at the Bienen School of Music, our by the Bienen School’s Institute for New represented at the 2013 Winter Chamber concert schedule has recently afforded Music. Another festival event further chal- Music Festival by the talented and nimble many such opportunities. lenged conventional expectations by pre- ensemble A Far Cry. Another concert fea- Recitals featuring the music of Bach senting Cage’s music in an unusual location tured the voluptuous sounds of the Bienen are common enough, but chances to hear —the Deering Library, adjacent to an inter- School of Music Cello Ensemble, 40 mem- this music performed on a 17th-century nationally admired collection of Cage scores bers strong. Nemmers Composition Prize triple-peg-box 14-course plucked German and related materials. By locating listeners winner Aaron Jay Kernis attended a beauti- theorbo are rare indeed. The school’s within an unfamiliar physical environment, ful performance of his new work Perpetual Segovia Classical Guitar Series opened with the concert challenged even the most Chaconne featuring the Calder Quartet and Hopkinson Smith playing such an instru- sophisticated audience members to hear Chicago Symphony Orchestra clarinetist ment made by Joel van Lennep. This his- Cage’s work anew. John Bruce Yeh. torically authentic way of presenting Bach’s The uniquely gifted pianist Gabriela In the past several months the Bienen solo cello suites provided a contemporary Montero has certainly never been confined School has taken a cue from John Cage by audience with a new listening experience. by music orthodoxy. Demonstrating her celebrating “free range” music and musi- Leaping three centuries forward, the astounding ability to brilliantly and instanta- cians in whatever form they occur, much to celebrated So - Percussion ensemble subverted neously improvise on any tune or idea the delight of our audiences—who, like the musical convention—and challenged the suggested by her audience, she delighted performers they sought out, were liberated boundaries of human imagination— a large and grateful crowd at her October from the shackles of convention. We look by deploying a foot-high cactus (courtesy Pick-Staiger concert with her seemingly forward to many more musical adventures of Home Depot) as an instrument. By limitless creativity. Montero’s ingenious down the road.

SPRING 2013 21 students

Kimberly Lansinger Ankney, a doctoral candi- Anna Cooksey, a senior Sherry Kim, a junior date in music education, presented papers at clarinet student of Steven piano student of Alan the National Association for Music Education Cohen, was named Chow, was the winner biennial conference in St. Louis and at educational program of the $10,000 Musicians American Educational Research Association coordinator for the Club of Women’s 2012 conferences in San Francisco and Vancouver. Fifth House Ensemble, Jerome and Elaine Her article “Alternative Representations a Chicago-based cham- Nerenburg Foundation for Music Composition” appeared in the ber music group. Scholarship. She also January 2012 edition of Visions of Research won a Union League Civic & Arts Founda­ in Music Education. Donna Gallo, a doctoral student in music edu- tion Scholarship, first place in the young adult cation, presented papers over the past year at piano division of the 2012 Illinois State Music Yoshiko Arahata, a master’s piano student of the International Society for Music Education Teachers Association competition, and third Alan Chow, won the 2012 Pauline Lindsay World Conference in Thessaloniki, Greece; prize in the East Central Division of the 2013 Award in a competition for first-year Bienen the American Orff-Schulwerk Association Music Teachers National Association Compe­ School graduate students. She also received conference in St. Louis; the Suncoast Music tition. Kim has garnered considerable attention Northwestern’s Alvia S. and Helen Cottongim Education Research Symposium in Tampa; through her YouTube channel, where she VanKirk Graduate Endowed Scholarship. and the Fourth International Symposium on streams videos of her solo piano arrangements Arahata was a semifinalist in both the 2012 Assessment in Music Education in Taiwan. Her of songs from popular video games. The New York Concert Artists and Associates article “Technological Tools for Understanding channel has more than 30,000 subscribers, International Piano Concerto Competition and Creating Music” was published in the and her videos have been viewed almost and the 2012 International Chamber Music journal Reverberations. 11 million times. Ensemble Competition. Daniel Healy, a doctoral student in music Danny Lai, a senior dual-degree student in Julie Bannerman, a doc- education, presented papers over the past year economics and viola performance working toral candidate in music at the Suncoast Music Education Research under the supervision of Roland Vamos, was education, received a Symposium in Tampa and the International a winner in the college and postgraduate graduate research grant Society for Improvised Music conference in division of the 2012 Union League Classical in June 2012 to support Wayne, New Jersey. Music Competition. her historical research project “Unity through Russell Houston, a fresh- Igor Lipinski, a doctoral piano student of Music: Music Education, man cello student of Alan Chow, was a soloist with the Buffalo Latin America, and US Cultural Policy, 1939– Hans Jørgen Jensen, won Philharmonic Orchestra last July. In the fall 1946.” In July she presented her paper “Good first prize in the string he was the featured pianist in the Chicago Neighbors: Latin America and US Music division of the Sorantin premiere of 33 Variations, a play inspired by Education” at the International Society for International Young Beethoven’s Diabelli Variations. Lipinski was Music Education World Conference in Artists Competition a guest artist at Northeastern Illinois Univer­ Thessaloniki, Greece. in San Angelo, Texas, sity’s Kosciuszko Foundation Celebration despite being five years younger than the and the Paderewski Festival in Pasa Robles, Clara Christian, a doc- next-oldest competitor. California. In January he was a soloist for the toral piano pedagogy Cape Cod Symphony Orchestra’s New Year’s student of Marcia Bosits, Sara Jones, a doctoral Day concert in Hyannis, Massachusetts, and performed last July as candidate in music edu- a guest artist for the St. Petersburg (Florida) part of the Jaani Kirik cation, presented “A College Piano Series. He was recently a guest Concert Series in Comparative Case Study artist on the University of South Florida’s St. Petersburg, Russia. of Elective Participation Steinway Concert Series and at Chicago’s Christian also gave a in Two Contrasting Col­ Polish consulate. presentation at the 2012 Music Teachers legiate Vocal Ensembles” National Association conference in New at the Suncoast Music York City. Education Research Symposium in Tampa in February. In June 2012 Jones was appointed assistant director of the North Shore New Horizons Band.

22 FANFARE Students from the Bienen School’s voice and opera program made their traditionally strong showing at this year’s National Association of Teachers of Singing’s classical voice competi- tion. Those receiving awards included freshmen Alyssa Giannetti (first place), Caitlin Finnie (second place), Hannah Greene (third place), and Kaileigh Riess (honorable mention) in division 3; senior Harrah Friedlander (second place) in division 5; and second-year master’s students Rachel Sparrow (first place) and Angela Harrington (third place) in division 7. All Nasim Niknafs, a doctoral of the winners were students of Pamela Hinchman. student in music edu­ cation, coauthored the article “‘You Got to Know Us’: Music Education in Urban Environments,” published in the journal Visions of Research in Music Education. Last July Niknafs presented the paper “Illinois K–8 General Music Teachers’ Use of Improvisation in Their From left: Alyssa Giannetti, Caitlin Finnie, Harrah Friedlander, Rachel Sparrow Classrooms: A Mixed Methods Approach” at the International Society for Music Education World Conference in Thessaloniki, Greece. with a successful 45-day Kickstarter campaign, Bethany Wiese, a doctoral which raised the production funds from back- tuba student of Rex Julia Shaw, a doctoral ers around the world. Martin, was the winner student in music educa- of the 23rd International tion, presented papers at Jason Thompson, a doc- Competition “Città di the University of Hawaii toral student in music Porcia,” a quadrennial in 2012 and at the education, presented tuba event in Porcia, Illinois Music Educators the paper “Un/locking Italy. This is the first Association Conference Doors of Musical European solo-competition win by a North­ in 2013. Her article “The Freedom for Incarcerated western brass player. She also performed with Skin That We Sing: Culturally Responsive Youth,” coauthored with the Lexington (Kentucky) Philharmonic Choral Music Education” was published in music education profes- Orchestra and participated in the National a 2012 issue of Music Educators Journal. sor Maud Hickey, at the Research in Music Repertory Orchestra Festival in Breckenridge, Education Conference in Exeter, United Colorado. Wiese plays with the New World Thomas Snydacker, a Kingdom. He also gave a presentation at the Symphony and is an associate member of the doctoral student in saxo- 2012 Music Educators National Conference Chicago Civic Orchestra. phone and student of in St. Louis. Timothy McAllister, Joanna Wu, a junior flute played two concerts Cara Trask, a master’s student of Walfrid Kujala with the New World flute student of John and John Thorne and a Symphony in Miami Thorne, won the piccolo/ piano student of Alan last fall. He was featured third flute position Chow, won third place as tenor saxophonist in Steven Mackey’s Lost with the Kalamazoo in the 2012 National and Found on a program that also included Symphony Orchestra. Flute Association’s Young cellist Yo-Yo Ma in Schumann’s Cello Con­ Artist Competition, held certo. Snydacker was a finalist in the First last August in Las Vegas. International Saxophone Symposium and Competition. Katherine Werbiansky Albert Yan, a senior double major in political (left) and Elisa Sutherland, science and violin performance and a student Ryan Townsend Strand, a master’s students in of Blair Milton, received an undergraduate master’s voice student of voice, and doctoral stu- research grant from Northwestern’s Office Theresa Brancaccio, has dent Alison Wahl received of Undergraduate Research for his project released his debut album, Encouragement Awards “Internationally Funded NGOs in Israel and Mending Split Seconds. at the district-level com- the 2011 NGO Funding Transparency Law.” The album pairs works petition of the Metro­ by 20th-century English politan Opera National Council Auditions. composer Ralph Vaughan Sutherland is a student of Theresa Brancaccio; Williams and contemporary American musi- Wahl and Werbiansky are students of Pamela cian Skyler Butenshon. The project began Hinchman.

SPRING 2013 23 faculty

Stephen Alltop (con- released in April; based on the history and Public Schools and the Chicago Arts Partner­ ducting and ensembles) pedigree of the “Lipinski” Stradivarius, ships in Education. International activity led the Apollo Chorus on which Almond performs, the recording included a paper at the Research in Music last December in per- was one of Kickstarter’s most-funded Education Conference at the University formances of Handel’s classical projects ever and was highlighted of Exeter and presentations for the Inter­ Messiah at Chicago’s in Strad magazine. national Schools Choral Music Festival IV Harris Theater and con- in South Korea with colleague Maud Hickey. ducted “Deck the Hall” Barrett is coeditor of The Mountain Lake performances at Old St. Reader: Conversations on the Study and Practice Patrick’s Church in Chicago. Last fall he gave of Music Teaching, published biennially. the lecture “The Top Ten Composers in Music History” for the Northwestern University Marcia Bosits (piano Alumnae Continuing Education series and pedagogy) adjudicated presented preconcert lectures on Brahms for the MTNA East Central the Chicago Symphony Orchestra. As harpsi- Division Piano Compe­ chordist and organist, Alltop performed with tition last fall. She has the Chicago Bach Project, the Milwaukee Linda Phyllis Austern (musicology) held a given recent conference Symphony Orchestra, Chicago’s Music of the miniresidency as a visiting scholar and featured presentations for the Baroque, Dempster Street Pro Musica, and the speaker in the interdisciplinary Ray Smith Texas Music Teachers’ Rembrandt Chamber Players. In February he Symposium “Sex and Power from the Middle Association, the Illinois conducted in South Korea for the first time Ages to the Enlightenment” at Syracuse State Music Teachers Association, and the as part of the International Schools Choral University in April 2012, presenting the talk World Piano Conference in Serbia. Music Festival IV. In March he guest con- “‘Lo, Here I Burn’: Musical Figurations and ducted the Champaign-Urbana Symphony Fantasies of Male Desire in Early Modern Theresa Brancaccio (voice Orchestra in a program featuring piano soloist England.” Austern also wrote an article for the and opera) gave two Winston Choi (G02, G08). forthcoming book Ashgate Research Companion master classes for the to Women and Gender in Early Modern Europe, Opera Training Institute Frank Almond (violin) edited by Allyson Poska, Jane Couchman, and of Chicago last summer. was a featured art- Katherine McIver. In November she adjudi- ist at the Cape Cod cated the Wheaton Chamber Music Janet Revell Barrett Conservatory Concerto Festival last summer (music education) Competition. In April and conducted the authored chapters on Brancaccio presented a faculty recital with Baltimore Chamber interdisciplinary cur­ fellow voice faculty member Kurt Hansen at Orchestra in its con- riculum in the Oxford Lutkin Hall. ducting workshop at Handbook of Music Johns Hopkins Uni­ Education and on music Elizabeth Buccheri versity. He made two teacher education in (piano and collab- solo appearances with Tanglewood II: Summoning orative arts) has been the Milwaukee Symphony Orchestra, per- the Future as well as an article in the Journal of named head of music forming the Mendelssohn Concerto under the Music Teacher Education. Barrett was the invited for Aspen Opera baton of Gilbert Varga for its season-opening lecturer for the “Life of the Mind” series at Theatre at the Aspen weekend and returning for its New Year’s Eve the University of Northern Colorado and Music Festival and concert with Andreas Delfs conducting. In at the Crane Symposium for Music Teacher School. Buccheri was November he appeared at New York’s Merkin Education at the State University of New appointed by Robert Hall with the chamber music group An Die York–Potsdam. She also presented at Kean Uni­ Spano, the festival’s Musik. His recording A Violin’s Life (Avie) was versity’s Music, Arts, and the Inter­disciplinary music director. Curriculum Institute, the Tennessee Arts Academy, and the National Association of Schools of Music’s annual meeting. She continues her consultancy with the Ravinia Reach/Teach/Play program for the Chicago

24 FANFARE Alan Chow (piano) per- Concertino with the Northwestern­ University James Giles (piano) spent formed and gave master Chamber Orchestra. Cohen has been working last summer teaching classes at the Classical as a consultant with Légère Reeds of Ontario. and performing at the Music Festival in Bowdoin International Eisenstadt, Austria, last Drew Edward Davies Music Festival and also summer. He also adjudi- (musicology) was served on the artist fac- cated and gave master awarded the inaugu- ulty of Spain’s Gijon classes at the New ral J. M. Thomson Piano Festival. His Orleans International Prize by the journal recording of John Piano Competition and Early Music for his Harbison’s Twilight Music with the Chicago Festival. In the fall he article “Villancicos Chamber Musicians is soon to be released. was a guest artist at Western Illinois Univer­ for the Virgin of He performed for Northwestern’s Bay Area sity’s inaugural piano festival and performed Guadalupe from alumni club and was the conference artist for with percussionist Michael Burritt at the Mexico City.” the Illinois State Music Teachers Association. Eastman School of Music and the Percussive The Chicago Arts Arts Society International Conference. In the Orchestra’s February Robert Gjerdingen (music spring Chow performed at Tulane University, release Al combate (Navona Records) features theory and cognition) the Oklahoma Music Teachers Association premiere recordings of works by Ignacio spent part of the past Conference, Bowling Green University, and Jerusalem and Santiago Billoni as drawn from year working with child the Chamber Music Festival in Edmonton, Davies’s research as well as a work edited by prodigy Alma Deutscher, Alberta. He also served as jury chair for the Bienen School PhD candidate Dianne Lehmann who has received public Hilton Head International Young Artist Piano Goldman. Last November vocalist Elda Peralta acclaim for composing Competition and was a juror and recitalist for (G10) and the Ensemble Settecento­ performed an opera at age seven. the Alaska Piano Competition. selections from Santiago Billoni: Complete Works, When only four, she edited by Davies, at Mexico’s Durango Cathe­ studied Gjerdingen’s book Music in the Galant Steven Cohen (clarinet) dral, where the pieces were composed in the Style (Oxford University Press, 2007). Her continued his work as 1740s. Last June he traveled to the Ukraine father contacted Gjerdingen, who has principal clarinet for to advise the Lyatoshynsky Ensemble in a instructed her in composition and has also North Carolina’s Brevard performance of 18th-century Spanish and put her family in touch with other musical Music Center; the sum- Mexican music. Over the past year he has also experts to develop her talents. mer of 2012 was his presented academic papers at the International 35th with that organiza- Musicological Society in Rome, the Sociedad Victor Goines (jazz stud- tion. His former Brevard Española de Musicología in Spain, and sym­ ies) continued his work students perform in posia on Latin American music in Tucson, with the Jazz at Lincoln orchestras and premier military bands Arizona, and Blacksburg, Virginia. Center Orchestra, led throughout the United States and teach at by Wynton Marsalis, in many colleges and conservatories. Cohen also Daniel Farris (conducting New York City and on spent part of last summer teaching at the and ensembles) and the winter and spring US Indiana University Clarinet Workshop. Since Northwestern University tours. His Victor Goines last fall he has presented master classes at Marching Band were Quartet performed in McNeese State University, Louisiana State featured in a cover story New York City, Chicago, New Orleans, and University, the University of Michigan, James in the August 2012 issue Atlanta. Last fall he performed in collabora- Madison University, and Moorhead State of School Band and tion with Garth Fagin Dance and Wynton University and in conjunction with a clarinet Orchestra magazine. The Marsalis at the Brooklyn Academy of Music; competition in Bangkok. Recent perfor- article included a sidebar with singer Barbara Cook in Milwaukee; and mances include appearances with the Ars interview with Mallory Thompson, director of with the Wynton Marsalis Quartet in New Viva Symphony, Music of the Baroque, the bands. NUMB followed the Northwestern Orleans. Goines also presented a lecture for Dempster Street Pro Musica chamber series, football team to Jacksonville, Florida, to per- the Chicago Humanities Festival and work- and the Lincoln Quartet. In May he and form at halftime during the 2013 Gator Bowl. shops and master classes for Cuba’s Horn Lewis Kirk (bassoon) performed Strauss’s Duet for Havana. He performed in Chicago with

SPRING 2013 25 faculty jazz bassist Marlene Rosenberg (jazz studies) Maud Hickey (music Lee Hyla (composition) and in New Orleans with jazz vocal legend education) was was featured on the Germaine Bazzle. Goines and Rosenberg selected last fall Firebird Ensemble’s new also presented a workshop for students in the as one of the first recording My Life on the Franklin Park School District. In February faculty fellows for Plains (Tzadik), which he was artist in residence at Atlanta’s Emory Northwestern Uni­ includes Hyla’s composi- University and guest artist at Lyons Township versity’s Center for tions Polish Folk Songs, High School in Illinois. Civic Engagement, Field Guide, and My Life which strives to on the Plains. Carl Fischer Robert Hasty (conducting promote a lifelong Music recently published his Polish Folk Songs, and ensembles) was commitment to The Dream of Innocent III, and Third Party. named music director active citizenship and social responsibility and principal conductor among all students. Hickey gave presentations Rex Martin (tuba and of the Kenosha Sym­ at the Suncoast Music Education Research euphonium) is a found- phony Orchestra. Symposium and traveled to South Korea as a ing member and board His debut concert in professional development consultant for teach- member of the Fulcrum October featured violin ers at the International Schools Choral Music Point New Music soloist Olga Kaler Festival IV. Her book Music Outside the Lines: Project, which over the (G11). Hasty also conducted the Illinois Ideas for Composing in K–12 Music Classrooms past year has performed Music Educators Association District 1 Honor was published by Oxford University Press in at such Chicago venues Orchestra last November. As artistic director October. Stating the case for making music as the Harris Theater, the of orchestra studies for the International composition a key element of primary and Chase Auditorium, and Park West. Last spring Schools Choral Music Society, he traveled secondary education, the book is filled with he performed the Vaughan Williams Tuba to South Korea for the society’s annual festival. activities for beginning, inter­mediate, and Concerto with the Chicago Philharmonic advanced students, along with a practical Orchestra in Pick-Staiger Concert Hall on John Henes (Alexander approach for implementing the curriculum the Besson tuba used in the concerto’s 1954 technique) gave a work- in classrooms. premiere. In May he delivered a eulogy and shop with former stu- performed at the funeral of Edward Livingston, dent Lori Schiff (82) at D. J. Hoek (musicology, his first tuba teacher. Last summer Martin the American Society head of music library) taught and performed at Quebec’s Le Domaine for the Alexander Tech­ presented his paper Forget festival, Italy’s Spilimbergo Music nique conference at the “Beyond Bebop: Festival, and (for the 10th year) Switzerland’s Juilliard School last sum- Contemporary Classical Ticino Musica festival. He adjudicated at mer. He also gave lec- Music on Dial Records” Italy’s Porcia International Tuba Competition tures, demonstrations, or lessons at the School at the annual meeting last November. In January, when Northwest­ of the Art Institute, Midwest Young Artists, the of the Association for ern hosted the entire tuba class from Oslo’s American String Teachers Association, and the Recorded Sound Collec­ Norwegian Academy of Music, Martin taught Steans Music Institute at Ravinia. tions. His other recent presentations included the students in master classes and lessons. “‘A Rather Great Change in Habits’: The In February he performed a solo recital and Michael Henoch (oboe) Sights and Sounds of John Cage’s Music presented a master class at the University celebrated his 40th sea- Notation” at the Arts Club of Chicago and of Massachusetts. son as assistant principal “Seeing Beyond the Cloud: How Spotify and oboe of the Chicago Other Cloud-Based Services Are Changing Blair Milton (violin) Symphony Orchestra. Libraries” at the Indiana Library Federation served on the jury of He was appointed to annual conference. the 2012 International the board of directors Joseph Joachim Chamber of the Solti Foundation Music Competition, US and performed held at the Liszt School at the foundation’s annual dinner, accompa- of Music in Weimar, nied by Elizabeth Buccheri (piano and collab- Germany. orative arts).

26 FANFARE Toni-Marie Montgomery Inna Naroditskaya Andrew Raciti (double (dean) gave the presen­ (musicology) recently bass) served as acting tation “Realities and gave lectures drawn principal double bass Challenges: Diversity in from her book for the Milwaukee Conservatories and US Bewitching Russian Symphony Orchestra this Music Schools” as a fea- Opera: The Tsarina past season. Last summer tured presenter at the from State to Stage he coached the bass sec- SphinxCon conference (Oxford University tion of the Filharmonica in Detroit. The confer- Press, 2012) at Joven de Colombia, the ence was presented by the Sphinx Organi­ Princeton University, top orchestra to emerge from that country’s zation, a nonprofit group dedicated to the Indiana University, El Sistema–based training program. During his development of young African American and Pittsburgh University, stay he gave master classes, bass sectionals, and Latino classical musicians. and the University lessons as the ensemble prepared for its first of Michigan. In Israel she presented a lecture tour. He will return to Colombia this summer Michael Mulcahy (trom- on Tchaikovsky’s opera Queen of Spades at the to help prepare the ensemble for its first US bone) released a new Hebrew University of Jerusalem, lectured on tour. Other summer activities included perfor- recording featuring the music of minorities and Azerbaijani jazz mances with the Minnesota Orchestra and at trombonist Eric Klay and at Bar-Ilan University, and presented new the Grand Teton Music Festival and coachings the Australian Trombone research on the Jewish musical history of with the National Repertory Orchestra in Quartet. Full Circle Odessa, Ukraine, at the minority chapter of Colorado. Raciti’s review of new compositions (Australian Brass Work) the International Council for Traditional by bassist-composer Arni Egilsson appears in features 20th-century Music. Naroditskaya also chaired the Special the spring issue of Bass World, the journal of Australian music for Interest Group for European Music at the the International Society of Bassists. trombone quartet, solo trombone with com- 57th annual meeting of the Society for puter, and trombones and percussion. Ethnomusicology in New Orleans. Robert Reinhart (music theory and cognition) Scott Paulin (musicology) performed as vocalist and was included on the bassoonist last summer list of Northwestern for the a.pe.ri.od.ic new students’ top-rated pro- music series and the fessors in the Associated Music Room ensemble, Student Government’s including a recording 2012 Faculty and Admin­ session for a.pe.ri.od.ic’s istrator Honor Roll. forthcoming CD. His new solo composi- tion Conflux was premiered last October Donald Nally (conducting and ensembles) Susan Piagentini (music in Rio de Janeiro by flutist Maria Carolina received Chorus America’s Lois Botto Award theory and cognition) Cavalcanti as part of the Composer’s Voice for Innovative Action and Entrepreneurial coauthored the sixth series, with a subsequent February US pre- Zeal last June. In December he and his edition of Fundamentals miere in New York City. Per­cussionist Zachary ensemble The Crossing performed David of Music: Rudiments, Hale performed Reinhart’s Khasad-dûm for Lang’s Pulitzer Prize–winning Little Match Musicianship, and solo spring drum as part of Montreal’s Cordes Girl Passion at New York’s Metropolitan Composition—a revision Obertes concerts last June. In October It Walks Museum of Art. The Crossing’s holiday CD, of the seminal work by at Midnight, Reinhart’s trio for voice, piano, Christmas Daybreak, was released in December. the late Earl Henry— and celesta, was broadcast on Radio X in The ensemble’s April release I want to live with Jennifer Snodgrass of Appalachian State Frankfurt, Germany. In February­ at the includes premiere recordings of works for University. The textbook is coupled with University of Illinois at Urbana-Champaign women’s choir. In March Nally was chorus their new online assessment tool Exposition he guest lectured on quarter-tone vocal master for the Chicago Bach Project’s annual Music. Based on five years of research in music composition and ear training. Bach masterwork performance, with John theory placement exams, the software creates Nelson conducting, at Chicago’s St. Vincent a pedagogically sound environment for testing de Paul Church. in music, providing students with immediate feedback.

SPRING 2013 27 faculty

W. Stephen Smith (voice John Thorne (flute) was and opera) received an interviewed for the honorary doctor of arts September issue of Flute and humane letters Talk magazine. Over the degree from his alma last several months he mater, the University of has given master classes Arkansas, at its fall 2012 for the Indianapolis Flute commencement cere- Club, the Boston Flute mony. Recognized for Academy, Boston Uni­ his groundbreaking pedagogical methods, versity, the University of Jay Alan Yim (music composition) saw his Smith was praised by Chancellor G. David Utah, and the Wisconsin Flute Festival. Last installation Fluid Mechanics Remix presented Gearhart for having “revolutionized the way November he performed Doppler’s Hungarian last summer by Digital Art Museum Berlin students are taught to sing. The effect of his Pastorale Fantasy with the Northshore Concert in the fourth edition of the museum’s ongo- innovative approach is to enable these artists Band under the baton of Mallory Thompson ing public series. The piece was shown twice to realize and freely express their individual (conducting and ensembles). In February he hourly on a seven-meter-wide outdoor screen voices.” appeared with the Symphonic Wind Ensemble, at Sony Center in Potsdamer Platz. Yim’s playing Joel Puckett’s The Shadow of Sirius. interactive installation Bird, previously pre- Hans Thomalla (music sented at the University of New Mexico Art composition) partici- Gail Williams (horn) Museum in spring 2012, was featured in last pated in a two-day resi- performed as principal fall’s 2012 Taipei Digital Art Festival, where dency at the University horn with the World Yim participated in a panel presentation dur- of Iowa last November, Orchestra for Peace— ing a daylong symposium. In September Yim’s teaching master classes an ensemble including Frontier was presented at the Public Hotel’s in composition and top players from (among Screening Room during Expo Chicago, presenting a colloquium. others) the Vienna Phil­ and Parked received its premiere during the In October and Novem­ harmonic, Boston Sym­ 2012 International Symposium on Electronic ber, Ensemble Recherche performed a revised phony, and Mariinsky Art as part of the “Tradewinds Revival version of Thomalla’s quartet Capriccio in Orchestra—in New York City and Chicago Drive-In Screening,” an outdoor video screen- Germany, Italy, and Spain. This spring under the baton of Valery Gergiev. Dubbed ing with radio-broadcast soundtracks at an Ensemble Alternance performed his Bebung the Solti Centennial Concerts, the perfor- abandoned Octopus Car Wash and Tradewinds in Germany and his string quartet Albumblatt mances commemorated the 100th birthday Motel in Albuquerque. In November he gave at the University of Chicago and Illinois State of the late Sir Georg Solti. two lectures on his work during the Festival University. Thomalla’s article “Weisst Du wie of New American Music at California State das wird?,” discussing Wagner’s influence on University, Sacramento, where the Calliope new music, was published in the journal Die Duo performed the West Coast premiere of Deutsche Bühne. In recognition of his advanced Yim’s Mille Grâces. In November the curato- orchestration class, Thomalla was named to rial team of Vídeo Guerrilha included two the Associated Student Government’s 2012 localStyle videos—bØnk! and Fluid Mechanics Faculty and Administrator Honor Roll. Remix—during three evenings of outdoor projections in the heart of São Paolo, Brazil.

28 FANFARE alumni

1940s founded Gasparo Records, for which Ken Paoli Steven Loewengart (75, G76) was he produced or engineered more (G74, G81) named managing partner of the than 300 classical albums. was an new law office Fisher & Phillips, Sheldon Harnick (49) wrote the invited lec- LLP, in Columbus, Ohio. Previously poems accompanying photos by his John P. Boyd (68) wrote a chapter for turer and he was a partner at Squire Sanders, wife, Margery Gray Harnick, for the book The Art of Interpretation of composer where he led its workers’ compensa- their coffee-table book The Outdoor Band Music (GIA). Boyd is emeritus at the Inter­ tion practice. Museum (Not Your Usual Images of director of bands and professor of national New York), published in 2012 by music at Indiana State University. Workshop on Computer Music Beaufort Books. and Audio Technology at Taiwan’s 1970s National Chiao Tung University, 1950s where he performed his latest laptop Jay Kennedy (73, G74) was appointed work, Phil-Harmonia II, dedicated Ray Songayllo (51, G52) has taught vice president for academic affairs to the late composer Phil Winsor. piano at the Des Moines Symphony and vice provost at Boston’s Berklee His lecture “Logical Sieves and Academy since 2003 and serves as College of Music. He has been at Probabilities in an Algorithmically pianist and manager for the Midgard Berklee for the past 18 years and Assisted Compositional Environment” Ensemble, an international cham- recently oversaw development of demonstrated the music-generating ber group that performed in South academic facilities at its new campus software constructs used in the orga- B. Michael Williams (G78), professor Africa in 2011. Last June he lectured in Valencia, Spain. Kennedy remains nization of his recent compositions. of percussion at Winthrop University on the piano works of Szymanowski an active composer-arranger and Two works employing these methods in Rock Hill, South Carolina, pre- at the Matthay Festival in Jackson, an adjudicator for marching band, —Slices (stereo electronics) and Chase sented a clinic and directed a concert Tennessee. In October he was recog- indoor percussion ensemble, and (for amplified violin, viola, and by the Winthrop World Percussion nized as one of the two living found- drum and bugle corps competitions. trumpet)—were presented at Lewis Ensemble at the Percussive Arts ers of the Iowa Composers’ Forum University during the 12th annual Society International Convention last at an event in Cedar Rapids, where Susan L. Nigro (73, G74) is a perma- Electronic Music Midwest festival November. The group was invited he premiered his piano composition nent substitute bassoon and contra- last October. to the convention as winner of the Two Legends. bassoon for the Chicago Symphony society’s fourth annual International Orchestra. Now managed by Price Jan (Herbert) de Chambrier (75, G80) World Percussion Competition. Russell Shannon (G52) was honored Rubin and Associates, she premiered serves as chap- Bachovich Music Publications by the Central Arizona College Com­ Jared Aragon’s Little Suite for Big lain at St. Luke’s recently published six new Williams munity Band with an all-Shannon Bassoon in April at Eastern New Hospital in percussion compositions, and concert last November. Shannon has Mexico University. The Woodlands, Percussive Notes magazine published written many compositions for the Texas, and his article “John Bergamo: Percussive ensemble during his 26 years as a Hollis Thoms (G73) authored articles teaches at Renaissance Man.” performing member. published in Pan Pipes, the Sigma international Alpha Iota fraternity journal, and the missions con- 1980s 1960s St. John’s Review, the research journal ferences in the Czech Republic, Brazil, Colombia, of Maryland’s St. John’s College. In Amy Burton (80) is on the voice Roy H. Christensen (64) recently 2012 the Bach Concert Series of Ukraine, and Germany. Her book faculty at Mannes College and the retired after a long musical career. Baltimore premiered his compositions Glimpses: Two Stories of Hope and CUNY Most recently he was principal Passion and Isaac. Healing (Prayer Point Press) was pub- Graduate cellist for the New Hampshire lished in 2011. From 1996 until 2011 Center. She and Springfield (Massachusetts) Dale Voelker (G73, G77) is cur- she was artist-teacher of opera studies recently per- Symphony Orchestras. His life in rently a visiting professor at Sias at Rice University’s Shepherd School formed in the music included stints as principal International University, where of Music. modern-day cellist for the Atlanta and Cincinnati he directs the choir and teaches premiere Symphony Orchestras. He was also German, French, Italian, and English of Cole active in Nashville in the commercial diction to voice students. He also Porter’s record industry, and in the 1970s he serves as director of choirs at Judson La Revue des Ambassadeurs with University in Elgin, Illinois. L’Orchestre Pasdeloup in Paris and

SPRING 2013 29 alumni

ing methods by considering how the John H. including the theme for President 1980s continued brain works and the impact of tech- Wallace (G86) Barack Obama’s 2008 campaign gave the American premiere of a nology on learning. is assistant and ads for Chrysler, CDW, and the newly discovered Porter song, professor of Chicago Blackhawks. He recently “Boulevard Break,” at a concert at Glenn Cason (G85) was appointed music, com- joined Chicago’s Deaf Dog Music as New York City’s Café Sabarsky. band director for the new Ritch position, and a partner. Sproull composed the score Middle School in Paulding, Georgia. music theory for Ballhawks, a film by Chicago film- Jeffrey Schleff (G80) is organist and In 2011 he earned his doctor of as well as maker Mike Diedrich. director of music for St. Andrew education degree from Walden director of Lutheran Church in Mundelein, University. Cason participated in undergraduate studies in the School Augusta Read Thomas (87) was Illinois, where he launched a monthly professor emeritus Frederick Hemke’s of Music at the Boston University recently elected to the American concert series for 2012–13. Since retirement celebration last June at College of Fine Arts. In February Academy of Arts and Sciences. 2006 he has served as principal of Northwestern. 2012 he conducted the premiere Four new Thomas compositions Lords Park Elementary School in of his Five Miniatures in Boston. were premiered in the past year: Elgin, Illinois. Ho Hwee Long (G85) is an influential Wallace’s music has been performed Resounding Earth in September by band conductor with Singapore’s by such performers and organizations the Third Coast Percussion Quartet, Mary Ernster (G81) appeared last National Junior College and as Alea III, the Tanglewood Institute, featuring more than 120 bells from spring as Auntie Em in The Wizard cofounder of a specialist diploma the Chicago Chamber Music Col­ various cultures and historical peri- of Oz at suburban Chicago’s Drury in band directing. Previously a lective, and pianists Shiela Kibbe and ods; Earth Echoes, commissioned to Lane Oakbrook Terrace Theatre. hornist for Singapore’s National Kurt Westerberg. commemorate the centennial of the Symphony Orchestra, he also serves death of Gustav Mahler, at New York Scott Magnesen (81) is a managing as music director and resident con- Theodore S. “Ted” Davis (G87) is a City’s Carnegie Hall in October; director and financial adviser for ductor for the National University doctoral can- Harvest Drum, inspired by the com- Morgan Stanley Smith Barney in of Singapore’s Centre for the Arts. didate at the poser’s 2011 sojourn in China, at Oak Brook, Illinois. He has been Peabody Beijing’s National Centre for the with the firm for 30 years. Magnesen Eric Ruske (85) is a professor of horn Conservatory Performing Arts; and Cello Concerto was named to Barron’s list of at Boston University. Albany Records of Johns No. 3, performed by cellist Lynn “America’s Top 1,000 Advisors: has released his complete discography Hopkins Harrell, con­ductor Christoph State-by-State” and was named as the seven- University Eschenbach, and the Boston 2008’s number-one financial adviser CD box set in Baltimore, Symphony Orchestra in March. by Chicago magazine. The Horn of Eric where he Ruske, includ- continues to serve as organist and David Wroe (G88) is director and Babs Deacon (83) was recently ing his criti- choirmaster of St. Bartholomew’s conductor for appointed director of the strategic cally acclaimed Episcopal Church, a position he has New Jersey’s consulting services division at eDJ recordings of held since 2005. Westfield Group, a consulting firm specializing the complete Mozart concerti with Symphony in technology and service solutions. Sir Charles Mackerras and the Orchestra and Previously Deacon was a practice Scottish Chamber Orchestra. music director support manager for several promi- of New York’s nent law firms and a subject matter Glenn Freeman (86, G87) released a Teatro Gratta­ expert on data analytics and discovery collection of Philip Glass composi- cielo. In management. tions through his OgreOgress label. October he presented the lecture The 18th recording in a series of “A Conductor’s Life” as part of the Lisa Nimz (84), a fifth-grade teacher previously unreleased works by well- 2012 Anne M. Hale Speaker Series at Jane Stenson School in Skokie, known composers, this CD includes in Westfield. Wroe has taught at Illinois, coauthored the book Can You 21 orchestrations of Glass’s Modern Eric Sproull (87) has built a suc- Harvard University and the New Hear Me Now? Applying Brain Research Love Waltz by former Northwestern cessful career as a soundtrack and England Conservatory, conducted and Technology to Engage Today’s faculty member Robert Moran commercial composer and producer. the New York University Symphony Students (Shell Education, 2012). and features performers Paul Hersey His music has appeared in tele­vision Orchestra, and served as director The book explores effective teach- (89, WCAS89) and Christina Fong programming and commercials, of orchestras for Montclair State (86, G87). University.

30 FANFARE David Brubeck John W. Richmond (G90) contrib- Gaëtan Gerville-Réache (98, L05), the National Symphony of Costa (89, G90) uted the chapter “The Sociology and an appellate attorney and litigator Rica. In 2009 he made his Carnegie recently cel- Policy of Ensembles” to the Oxford who represents corporations, banks, Hall solo debut in Mendelssohn’s ebrated his Handbook of Music Education, Vol. 1, and domestic and foreign govern- Elijah with the New York Chamber 20th year edited by Gary E. McPherson and ments, was named partner at the firm Orchestra. MacLeod recently served as professor Graham F. Welch, and the chapter Warner, Norcross & Judd LLP. He is as section leader and chaperone for of music at “‘All In’ for Composition Education: a regular contributor to One Court the first American Choral Directors Miami Dade Opportunities of Justice, the leading blog analyzing Association National Youth Choir College. and Chal­ Michigan’s appellate courts. tour in London. An active bass trombonist, he is a lenges for founding member of the virtuoso Pre-Service 2000s Paula Brusky brass ensemble Brass Miami and Music Teacher (03) teaches courses in performs regularly with the Miami Curricula” Rebecca Davis (00, G01) appeared as music busi- City Ballet. With trumpeter Brian to Composing Magda in La ness at the Neal, Brubeck arranged and pub- Our Future: Rondine with University of lished 10 duos for trumpet and bass Preparing the Fresno Wisconsin– trombone. He has also written articles Music Educators to Teach Composition, Grand Opera Oshkosh and published in the International Trombone edited by Michele Kaschub and last January, as conducts Association Journal. Janice Smith; both books were Violetta in La research into injuries that musicians published in 2012 by Oxford Traviata with incur in practice and performance. Dan Novak (89) has been named University Press. In November he Livermore A bassoonist, she regularly plays director of the gave a presentation at the National Valley Opera with area orchestras and leads the Patrick G. and Association of Schools of Music in March, and as the Countess in Le biannual Bassoon Chamber Music Shirley W. conference in San Diego. nozze di Figaro with Dayton Opera in Composition Competition, which Ryan Opera April. She made her European opera she founded in 2009. Center at the Samuel debut as Fiordiligi in Così fan tutte at Lyric Opera McIlhagga Staatsopera Hannover in April. of Chicago, (G93) is in succeeding his tenth year the retiring as director Gianna Rolandi. Previously Novak of bands at was the center’s manager for 12 years. Michigan’s Albion 1990s College and his fourth year as chair of its music department. He recently com- Beau Davidson (03) was a surrogate Matthew pleted an extensive historical and for Governor Mitt Romney in his Mailman (90, analytical study of Walton’s Façade: presidential campaign. Appointed to G91) is in his Scott MacLeod (00) is an assistant An Entertainment and directed and the governor’s “Young Americans for 18th year as professor of music and cochair of the produced a recording of the work Romney” coalition, he traveled across professor of vocal division at North Carolina’s with the Albion Chamber Players, the country, singing and speaking on conducting in High Point University. Also chorus an ensemble he founded. the candidate’s behalf. The pinnacle the Wanda L. master of the North Carolina Opera, of Davidson’s campaign participa- Bass School he maintains an active career as Terry Barber (95) released his record- tion was singing his original patriotic of Music singer, conductor, and clinician. As ing Classical for Everyone (rEvolv composition “Blessed” on prime- at Oklahoma City University. He a performer he has appeared with Music) on CD and for digital down- time television at the Republican recently conducted Poulenc’s Dialogues Central City Opera, Opera Omaha, load. The album includes selections National Convention last August. The of the Carmelites and Sondheim’s Opera North, Utah Festival Opera, from works he performed on his documentary-style video of “Blessed” Sweeney Todd and Into the Woods. the North Carolina Symphony, and 2012 US tour. has been nominated for a Mid-South Regional Emmy Award.

SPRING 2013 31 alumni

under conductor Sir Andrew Davis. Jing Qiao (G07) took first prize at 2000s continued She debuted in late 2012 at Oper China’s Yang TongLiu Chengdu Kimberly Beasley (G04), a soprano, Frankfurt in a new production of International Violin Competition last recently performed with Florida’s Humperdinck’s Königskinder as the September. She was also a semifinalist­ Jacksonville Symphony Orchestra. Goose-Girl and made her Glynde­ in Denmark’s 2012 Carl Nielsen An assistant professor of voice at bourne Festival debut as Countess International Violin Competition. Jacksonville University, she serves as Almaviva in Michael Grandage’s president of the North Florida chap- production of Le nozze di Figaro. Mary Bassett (08) joined both the ter of the National Association of Conor Hanick (05), a New York Palm Beach Symphony and Florida Teachers of Singing. City–based concert pianist, received a Sean McCluskey (06) released The Grand Opera as piccolo player. glowing New York Times review for his Beginning (Saoirse Records), his first Brandon Keith Brown (04) won January performance of John Cage’s CD of original compositions and Bruce Carter (G08) was appointed third prize at the 2012 Georg Sonatas and Interludes for Prepared jazz standards. His tours with his jazz to the National Council on the Solti Conducting Competition in Piano. The Times described Hanick’s trio include a recent cruise around Arts by President Barack Obama in Frankfurt, Germany. In 2011 the playing as “a marvel of poetic con- Australia and the South Pacific on January. Carter is a music educator Vienna Philharmonic awarded him centration,” praising its “virtuosity, the Pacific Jewel. and researcher whose work focuses its Ansbacher Fellowship. He has also focus, and imagination.” Other on creativity and the intersections of been in residence at the Salzburg recent activities include a week- Laura Henry (07) has been playing social justice and arts participation. Festival and conducted Vienna long residency at the Yellow Barn clarinet with the US Air Force His research has been published in Philharmonic members in opera in Putney, Vermont; performances Band since 2011. Previously she the Bulletin of the Council for Research camps for young people. In February with the Smith College Arts Festival was a member of the Green Bay in Music Education, Journal of Research he made his New York debut with in Northampton, Massachusetts; Symphony Orchestra. in Music Education, and Music Educators the Manhattan School of Music and a guest lecture-performance on Journal, in addition to numerous Symphony Orchestra. Messiaen’s Des Canyons aux Étoiles Angela Chung Hsu (07) earned a invited chapters in publications by at the New England Conservatory. master’s degree in public policy from Oxford University Press. This year Ashima Scripp (G04) was appointed the University of Chicago last June. the University of North Carolina’s artistic director for the Walden School of Education designated the Chamber Bruce Carter Qualitative Research Players. A Center as a venue for graduate stu- member of dents to pursue meaningful qualita- the ensemble tive research agendas. for eight years, she Kristin King (G08) joined the clarinet previously section of the US Air Force Band in served as 2011. Previously she was principal associate artistic director. Scripp has Jamie Wolf (05) is a singer-songwriter George LePauw (G07) is a pianist and and E-flat clarinetist with the South developed and produced many of the and the choral teaching artist at the founder of Chicago’s Beethoven Bend Symphony Orchestra. group’s educational residencies and El Sistema Colorado. She recently Festival, held annually in September. programs. She also teaches cello and released her second album, New In 2012, its second year, the festival Cindy Tseng (G08) is pursuing a PhD chamber music at the Longy School Shoes, featuring 10 original songs. featured 60 events in nine days. Its in piano pedagogy at the University of Music and the Concord Academy success led the Chicago Tribune to rec- of Oklahoma. As an invited clini- in Massachusetts. Amanda ognize LePauw as 2012’s Chicagoan cian for the College Music Society Majeski (06) of the Year for Classical Music. International Conference in Buenos made her Aires in 2013, she gave the presenta- Lyric Opera tion “Mihalyi Csikszentmihalyi and of Chicago Flow Theory: Application of Flow to role debut as Music Education.” Eva in Die Meistersinger von Nürnberg

32 FANFARE Tingting Zhang (G08) served on the 2010s John Gilbert “Jack” Marquardt (G10) Ryan Beach (G12) received a cash piano faculty at China’s Shenyang joined WindSync, an ensemble spe- award of $10,000 as winner of the Conservatory this past year. She cializing in creative and interactive 2012 Ellsworth Smith International Kelsey Betzelberger (10, G12), also presented her paper “Should concerts that incorporate theatrical Trumpet Competition. Presented Casey Candebat (G11), Alex There Be a National Graded Music elements. Marquardt is also a mem- every four years by the International Edgemon (G09, G10), and Nick Examination in the United States?” ber of the Illinois and Quad City Trumpet Guild and the Columbus Wenzel (G09) won their divisions at the College Music Society Symphony Orchestras. Foundation, the competition chooses in the district competition of the National Conference in San Diego. eight semifinalists from around the 2012 Metropolitan Opera National Kate Carter (G11) is an active mem- world via taped submissions. Council Auditions, and Sarah van Josh Fink (09, G11) and his new band, ber of the Chicago Q Ensemble, der Ploeg (G12) won an Encourage­ Zamin, played at Taste of Chicago a group dedicated to performing Lauren Haley (G12) became the new ment Award. last July. Fusing Indian vocal tech- the works of living (especially director of Belmont (Massachusetts) niques with American classical and female) composers. The group used High School’s Symphonic Band folk music, the group includes fellow Kickstarter to crowd-fund its debut and Marauder Marching Band last alumni Zeshan Bagewadi (09, G11), album, Amy Wurtz String Quartets. September. David Eisenreich (G11), and Eric Seligman (12). Fink’s other ensemble, Lauren Cook (G11), a clarinetist, Samuel Rothstein (12), a bass clari- the Gentlemen of NUCO, performed joined the US Navy Band’s Concert/ netist, was selected as a fellow of on the national television program Ceremonial Band in 2011. the Boston Symphony Orchestra’s America’s Got Talent and recently Tanglewood Music Center, the released a digital EP of four original Kangmin Justin Kim (11) won first BSO’s summer music academy for songs. Both groups are now profes- place in the 2012 Stuart Burrows emerging professional musicians sionally managed by Emmerson International Voice Award Compe­ of exceptional ability. Denney Management. Fink recently tition, held in Wales last summer. Kim joined the faculty at MYCincinnati, was also a semifinalist in the 2012 an El Sistema–inspired program that Teatro Colón offers children free musical training. International Competition. In February Caroline Davis (G10) released her jazz he and his quartet’s new recording Live, Work accompanist, & Play (Ears and Eyes Records) in Sachika November. She teaches music theory Taniyama, at Columbia College Chicago and were selected the psychology of music at DePaul for the Oxford Lieder Young Artist University. Davis also teaches Music Platform; the duo will perform at the Together courses for babies and Oxford Lieder Festival and will give parents in Chicago. a series of recitals at music clubs and festivals around England. Holly Kortze (G10) is a clarinetist in the orchestra for the 25th-anniversary Anne Slovin (11) was named a final- touring production of Les Misérables. ist in the 2013 Grand Concours de Chant Competition this past January.

SPRING 2013 33 IN MEMORIAM

Eileen Kelly Strang (37, G38), Elaine Domrose Hiller (G49), in Robert M. Henry (56, G59), in in Long Beach, California, on Athens, Ohio, on September 5, 2012. Rolling Meadows, Illinois, on August 13, 2011. September 2, 2012. Iris Hughes (49), in Moorcroft, Louise Miller Alton (G40), in Denton, Wyoming, on August 4, 2012. Wayne Buhk (57), in DeLand, Texas, on December 29, 2012. Florida, on September 7, 2012. Elizabeth Acheson Bauer Kaminski Jane Blache Willard (G40), in (49), in Santa Clara, California, on Paul R. Trueblood (57), in New York Richmond, Virginia, on January 18, July 16, 2012. City on January 16, 2012. 2013. Ara Zerounian (49), in Ridgefield, Karen Penn Whitman (58), in Carolyn Burd Christie (41), in Fort Connecticut, on October 29, 2012. Titusville, Florida, on October 20, Wayne, Indiana, on January 13, 2012. 2013. Russell C. Anderson (50, G51), in Rockford, Illinois, on November 3, Earl L. Clemens (G59), in Geneva, Marilyn J. McCormick (43, G47), in 2012. Illinois, on July 23, 2012. Naperville, Illinois, on July 4, 2012. Barbara A. Bowermaster (50), in Ruth Elaine Miller (G60), in Barbara Malotte Smith (43), in Ottawa, Illinois, on November 13, Anderson, Indiana, on October 29, Wilmette, Illinois, on October 6, 2012. 2012. 2012. Anna “Kay” Kathryn Mennen Frederick B. Shulze (G63), in Jane Ann Katz (44), in Swansea, Carpenter (50), in Burlington, Muncie, Indiana, on January 29, Illinois, on January 28, 2013. Iowa, on July 27, 2012. 2013.

Joan Kilner Mills (44), in Tyler, John R. “Jack” Malhoit (50), in Thomas G. Conzemius (68), in Texas, in January 2010. Toledo, Ohio, on January 9, 2013. Minneapolis, on July 30, 2011.

Emma Soper Campbell (45), Mary Margaret Ausman (51), in Yasuko Segawa Joichi (G69), in in Boulder, Colorado, on Scottsdale, Arizona, on January 11, Arroyo Grande, California, on December 30, 2012. 2013. December 28, 2011.

Catherine F. McHugh (G45), Richard Henry Lee Jones (G51), Sylvia Dayenne Wallach-Motin in Murphysboro, Illinois, on in Fayetteville, North Carolina, (G71), in Chicago, on September 5, 2012. on February 3, 2013. July 17, 2012.

Mavis Plattner Reese (G46), in Mary Flagg Koritz (52), in Rochelle, Earle Lavon “Von” Freeman (73, Olive Branch, Mississippi, on Illinois, on November 2, 2012. H03), in Chicago, on July 23, 2012. August 11, 2012. Donald B. Wendt (52), in Waterloo, Eva Harper (47, G62), in Lake Villa, Iowa, on October 27, 2012. Richard E. Watson (G86), in Illinois, on August 17, 2012. Brookhaven, New York, on Leonard J. Hurst (G53), in Goshen, September 13, 2010. Constance Cave (48), in Tampa, Indiana, on December 9, 2012. Florida, on October 13, 2012. Leo C. “Bud” Miget (55), in Cape Elizabeth Owen Taylor (G48), in Girardeau, Missouri, on January 25, Cranberry Township, Pennsylvania, 2013. on August 30, 2012. Celine Mudge (55), in Chehalis, Mary Lou Hindman Wade (48, G50), Washington, on January 12, 2013. in El Paso, Texas, on July 28, 2012. Stanley M. Ackerman (56), in Lake Forest, Illinois, on January 11, 2013.

34 FANFARE donors

We are grateful to all who have made dona- tions to the Bienen School of Music. The following donors made gifts of $1,000 or more to the Bienen School from January 1 through December 31, 2012. We also thank our many valued donors and friends who have contrib- uted less than $1,000 during this period.

Founder’s Circle ($50,000 or more) Glenn H. Anderson† Anonymous Neil G. Bluhm (L62)/Bluhm Family Charitable Foundation John A. Canning Chicago Community Trust Christopher B. (WCAS70) and Courtney Ivey Combe Lester (McC46) and Renée Schine Crown Davee Foundation Fidelity Investment Charitable Gift Fund Morris Kaplan and Dolores Kohl Kaplan Fund/ Mayer and Morris Kaplan Family Foundation President’s Circle ($25,000–$49,999) John Evans Circle ($5,000–$9,999) Ellen J. (WCAS70) and Howard C. Katz Leigh B. and Henry S. Bienen Alumnae of Northwestern University Carol and David McClintock Trust Elizabeth F. Cheney Foundation Michelle Miller Burns (BSM90)* John W. Meriwether (EB69)/Meriwether Art Pancoe Linda (BSM68, GBSM69) and Peter Foundation Albert Pick Jr. Fund (BSM68, GBSM70) Crisafulli National Association of Music Merchants Elizabeth S. and Alexander I. (C74, G75) Rorke* Jane Stowers (C69) and Richard H. (EB69) Dean* Foundation Jeffrey Wasson (BSM70, GBSM73, GBSM87)† Ellen and Allan R. Drebin* National Christian Foundation Marshall K. Grossman (WCAS70) William A. (WCAS69, KSM73) and Cathleen Dean’s Circle ($10,000–$24,999) Rose Ann Grundman (WCAS47, G48) McCurdy (WCAS72) Osborn Lynn and Mark Alan Angelson Rice Family Foundation Cari B. and Michael (KSM88, L88) Sacks/ Chicago Community Foundation Carole (WCAS62) and Gordon I. (EB60) Segal/ Sacks Family Foundation Rosemary and John W. Croghan Segal Family Foundation Schwab Fund for Charitable Giving Margee and Scott H. (McC65, KSM67) Filstrup* Charlene (WCAS70) and Robert E. Helen and Richard L. Thomas Byron L. Gregory (WCAS66, L69) (McC70, KSM81) Shaw/Shaw Family Betty Alexander Van Gorkom (BSM42)* Sara and John Hendrickson Supporting Organization Todd M. (WCAS87) and Ruth Warren Carol (GBSM85) and Joel D. Honigberg* Gail (SESP70) and William C. (KSM74)* Joan Kelham (BSM46, GBSM55)† Steinmetz Helen J. (BSM86, KSM90)* and Guy J. Raymaker Rosemary J. Schnell (WCAS54) *Member of the Bienen School of Music Securitas Foundation Advisory Board Trine Sorensen-Jacobson* and Michael Jacobson †Deceased Susanne and Timothy P. Sullivan

SPRING 2013 35 Fellows ($2,500–$4,999) Northern Trust Corporation Northwestern University Alumni Club of Naples Sally S. and Bernard J. (GBSM81) Dobroski Elizabeth R. and William I. (McC79) Nowicki Michelle M. Gerhard (McC82) NTI Americas Sally Hagan/Bertha Lebus Charitable Trust Nancy Pritchard Orbison (BSM75, GBSM81) Nancy Witte Jacobs (BSM52) Frank H. Philbrick Foundation Sherry (GBSM85, KSM90) and Walfrid Kujala Kay L. Pick* Eric A. Lutkin Mary Ann (BSM61, GBSM62) and Mary L. (BSM73) and Michael S. (BSM72, Dennis (WCAS52) Sadilek GBSM73) Mark Patricia Schaefer (BSM51) Sharon and R. Eden Martin Jeannette J. (BSM70) and Harold Segel Patricia S. and Clyde E. (BSM40)† Miller Marjorie F. Shansky (BSM70) Presser Foundation Daniela L. Sikora (BSM80) Carole M. (BSM61, GBSM62) and Jerry Ringer* Louise K. Smith* Evelyn M. (SESP59) and Joel S. Siegel Jennifer M. and James R. (L77) Stevens Jr. Janet and Kenneth R. Talle Jacalyn and William Thompson Andrea (GBSM95) and Mark (GBSM95) Vanguard Charitable Endowment Program Amdahl Taylor Avonelle S. Walker (GBSM62) Adair L. Waldenberg (WCAS72) and Jon K. Peck Mary Ann Holman Frederick (BSM66, GBSM67) Michael B. Wallace (BSM91, WCAS91) Jack Nelson Young (WCAS48) Alan Glen Gibson (BSM82) Jon D. Wenberg (BSM90, GBSM92) Connie and David E. (KSM00)* Zyer/George Wayne Gibson (GBSM62, GBSM72) Dorte and Lewis J. (WCAS52) West & Arlene Rusch Memorial Foundation Jerry W. Glennie (BSM53) Mary A. (BSM61) and Cecil B. (BSM60, Scott G. Golinkin (BSM74, GBSM75) GBSM61) Wilson Members ($1,000–$2,499) Philip H. Hagemann (BSM54) Luann M. H. Wolf Holly Aaronson (BSM89) Sheldon M. Harnick (BSM49) Betty Anne Younker (GBSM97) Janet and Paul Aliapoulios Mark D. (WCAS73) and Janet Strunk Hassakis Ling Zhao-Markovitz (GBSM89) and Association of American Railroads Sally Madden (SESP61) and Thomas Z. Michael C. Markovitz Ayco Charitable Foundation (WCAS62, L65) Hayward Jr.* Melanie L. Bostwick (WCAS04) Arthur J. Hill Sally W. and David Alan (KSM87) Bowers Dr. A. John Holstad (GBSM62, GBSM73) For information on donating to the Bienen School of Boone Brackett (FSM66)* Karen L. (GBSM76) and Jeffrey F. Music or to report errors, please call 847/491-4509. Joy S. Brassington (BSM64, GBSM65)† (WCAS73) Johnson Suzanne and James B. (WCAS77) Bronk Phillip and Janelle Johnson *Member of the Bienen School of Music Kenneth Cahn/Winning Ways Foundation Gail J. (SESP58) and Thomas R. (BSM56) Advisory Board Lisa and E. Michael (WCAS59)* Carney III Kasdorf/Kalamazoo Community Foundation †Deceased Joanne Kriege Cruickshank (BSM57, GBSM58) Kip Kelley* Robert E. (EB56) and Mrs. Robert E. Curley David Loebel (C72, GBSM74) Sandra (BSM62) and Russell (BSM61, Sheryl D. (BSM81) and Robert A. (McC81) Long GBSM62) Dagon Jr. Nancy T. (GBSM86) and R. Hugh Magill Laurence D. Davis Marilyn McCoy and Charles R. Thomas Elizabeth K. Dean Amy and John McHugh Amy K. (BSM96, WCAS96, GSESP97) and Nancy L. (BSM57) and Fred C. Meendsen Daaron (McC96, KSM03) Dohler Anna E. (WCAS64) and Mark Mergen Thomas Doran Jr. (BSM57, GBSM59, GBSM68) Thomas W. Miller Barbara Seablom Edwards (BSM55) Alice S. Mills Phyllis W. Ellis* Thomas E. Mintner (BSM72) Rebecca and Julius E. (GBSM68, Harriet M. Mogge (BSM49, BSM59) GBSM72) Erlenbach Robert and Patricia Morrow

36 FANFARE We want to hear from you!

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