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Fanfarefall 2019 Department of Music & Dance Fall 2019 FanfareDepartment of Music & Dance College of Humanities & Fine Arts T IS WITH a great deal of pleasure and an even greater sense of responsibility that I send out my first letter as chair of the Department of Music and Dance at the University of Massachusetts Amherst. I I am completely aware of the tremendous charge that I am assuming, and am quite humbled by it. I am equally aware of the remarkably high standards set by my predecessors. The development of our department, starting with Philip Bezanson in the late 1960s through Charles Bestor in the ’70s, continuing in a direct line through Jeff Cox and Roberta Marvin, has been an extraordinary one. I consider myself lucky to have been able to learn from the chairs with whom I have worked, and I am grateful to have had such outstanding mentors to follow. I am also grateful to my music and dance department colleagues for their show of support and trust in recommending me for my new role. I hope to live up to their belief in me and will do my best to continue and enrich a supportive and creative learning environment. As we all know, the Department of Music and Dance is a vibrant and exciting place to study and to teach. There is an extraordinary amount of scholarship, pedagogy, and performance taking place here, literally on a daily basis. One of the goals of my tenure will be to continue to explore meaningful ways for our students and faculty to share their work not only with one another, but with the university and the larger community as well. I am particularly interested in expanding our reach to underserved communities in places like Greenfield, Holyoke, and Springfield, and also improving our recruitment efforts to make the department more diverse. Finally, I pledge to our alumni to maintain the high academic and musical standards that we have worked so hard to attain, to expand FESTIVAL & SYMPOSIUM and enrich our offerings, and to maintain and grow our regional and national reputation. —Salvatore Macchia FROM THE CHAIR FROM CONTACT THE DEPARTMENT OF MUSIC & DANCE Looking Back To Bach | APRIL 17-19, 2015 FEATURING: ST. JOHN PASSION, APR. 18 AT GRACE EPISCOPAL CHURCH Bach Again! SYMPOSIUM EVENTS APR. 17-18 AT UMASS. MORE AT umass.edu/music/BachFestivalSchedule2015 ON THE COVER: Students perform at January’s Visit us BACH FESTIVAL & SYMPOSIUM As in the past, a variety of musical and academic events were held REFLECT/RESPOND Concert online! prior to the main Festival & Symposium weekend. These included (photo: Derek Fowles) RETURNS TO CAMPUS “Bach in the Subways” performances in late March, part of the annual international observance of Bach’s birthday. Amanda Stenroos brought umass.edu/music HE BANNER HANGING over downtown Amherst heralded the students, alumni, and volunteers together for informal concerts in news—the Bach Festival & Symposium was indeed returning to Amherst’s coffeehouses and bookstores as part of the town-sponsored TUMass in grand fashion. “Jamherst” events. Soon afterward, lectures by Professor of Art History FANFARE 2019 umass.edu/dance The university’s Department of Music and Dance is uniquely suited to Nicola Courtright, chair of Architectural Studies at Amherst College, and host this biennial celebration of all things Bach, thanks in large part to its Professor Joseph Levine, chair of the UMass Philosophy Department, Editors: Matt Longhi, Patricia Sullivan, Eric Roth internationally renowned roster of scholars and musicians. It’s that rare served as preludes for further academic discussions to come. combination that draws people from all over the world, including fans The Festival & Symposium weekend opened on April 12 with a free Designer: Jack Cavacco like Pradeep Gothoskar, an astrophysicist who made the 12,000-mile trek concert by faculty pianist Gilles Vonsattel in Bezanson Recital Hall. Photo credits: Eric Berlin, Sarah Berman, STAY IN TOUCH! from his home in Pune, India, to attend this year’s events. Vonsattel treated a packed house to tour-de-force performances of Derek Fowles, Joseph Kushick, Anthony In planning the 2019 Bach Festival & Symposium, the department had Bach’s Preludes in C Major and C Minor from The Well-Tempered Clavier Lee, Paula Lobo, Claire McAdams, Marjorie To join our email list, or to send alumni news items, the daunting task of topping the two previous iterations in 2015 and 2017, and Three Counterpoints from Art of Fugue, plus works by Mendelssohn, Melnick, Mayank Mishra, Sarah Pettinella, email to [email protected] which featured groundbreaking scholarly presentations and notable per- Beethoven, and Shostakovich. Afterward, Professor Emeritus Ernest Bill Sitler, Elizabeth Solaka, John Solem Follow us on Facebook and (now) Instagram— formances that earned accolades from the New York Times and others. May led a panel discussion, titled “Intercultural and Multidisciplinary @umassmusicdance Festival organizers Elizabeth Chang, William Hite, and Tony Thornton, Perspectives on Bach’s St. Matthew Passion,” which provided a schol- along with Amanda Stenroos ’15MM, included a few new twists this arly backdrop for the festival’s spotlight work. The panel, which was Check out the calendar: umass.edu/music/events year by adding an Alumni Cantata concert and moving the site of the live-streamed on Facebook, included symposium presenters Lydia Goehr, Music: 413-545-2227 • Dance: 413-545-6064 centerpiece performance (Bach’s massive St. Matthew Passion) from the Ruth HaCohen, and Yo Tomita, along with Thomas Cressy of Cornell familiar but limited confines of Amherst’s Grace Church to the Fine Arts University, Michael Marissen of Swarthmore College, and Andrea Moore Thanks to Jack Cavacco for 20+ years of wonderful work in designing Center Concert Hall. of Smith College. Fanfare magazine, and congratulations on your retirement! 2 / F A N F A R E F A N F A R E / 3 Bach Festival Alumni Cantata Orchestra performers The next morning, the focus shifted to the day-long scholarly sympo- sium, ambitiously titled “Bach in the Imaginary Museum and Bach Re- Imagined: Contemporary Perspectives on Performing and Re-Creating Bach.” Organized by Associate Professor Erinn E. Knyt and Ernest May, the event explored how Bach’s music had been re-imagined since its revival by Mendelssohn almost two centuries ago. Lydia Goehr, professor of philosophy at Columbia University, delivered a keynote address titled “The Work of Music: Situating Bach in a Public Culture of Blasphemy, De- votion, and Resurrection.” An expert in German aesthetic theory, Goehr is a recipient of Mellon, Getty, and Guggenheim Fellowships, and author of The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. The symposium also included scholarly presentations by an inter- national roster of music theorists and historians, including Ernest May, Owen Belcher, Erinn E. Knyt, and Emiliano Ricciardi from UMass; Maureen Carr, Penn State University; Ellen Exner ’00, New England Conservatory; Ruth HaCohen, Hebrew University of Jerusalem; Karolina Kolinek-Siechowicz, University of Warsaw and University of California Davis; Peter Kupfer, Southern Methodist University; John Lutterman, University of Alaska–Anchorage; Yo Tomita, Queen’s University, Belfast; and independent researcher Tekla Babyak. Following the day’s academic explorations, the focus shifted to the Fine Arts Center Concert Hall for a moving and powerful rendition of Bach’s St. Matthew Passion, widely viewed as one of the greatest mas- terpieces of Western music. The performance was led by Andrew Megill, conductor of the Montreal Symphony Orchestra Chorus and the Carmel Bach Festival Chorale. The Festival Chorus, which was divided into two parts as Bach envisioned, was expertly prepared by chorus master Tony Thornton, and included the UMass Chamber Choir, the Illuminati Vocal Arts Ensemble, and the Hampshire Young People’s Chorus led by K.C. Conlan. The Festival Orchestra was also split into two, and featured numerous UMass students and alumni led by faculty members Elizabeth Chang as concertmaster, violist Kathryn Lockwood, oboist Fredric T. Cohen, bassist Salvatore Macchia, and bassoonist Rémy Taghavi. Symposium presenters Voice faculty William Hite (Evangelist) anchored a stellar roster of vocal soloists, which included Paul Max Tipton (Christus), fellow faculty mem- ber Jamie-Rose Guarrine (soprano), and guests Krista River (mezzo- soprano), Robert Stahley (tenor), and John Salvi (baritone). The result was a sweeping triumph, one that won’t soon be forgotten by the roughly 900 concertgoers. On Sunday, the festival concluded with two free performances of Bach cantatas—the ever-popular Coffee Cantata at Amherst Coffee, and a special Alumni Cantata Concert that afternoon led by Jeffrey Grossman, continuo/director. Performers included Maki Matsui ’13MM, soprano; Liana Gineitis ’15, mezzo-soprano; Eric Christopher Perry ’12MM, tenor; Elijah Blaisdell, bass (guest); Madeleine Jansen ’13MM, violin; Amanda Stenroos ’15MM, violin; Jonathan Livioco ’17MM, viola; Wayne Smith ’12MM, cello; David Casali ’12, bass; Catalina Arrubla ’89MM, oboe; Helen Cowles ’92MM, oboe; Rémy Taghavi, bassoon (faculty); Steve Felix ’12, trumpet. In total, the 2019 Bach Festival & Symposium served as a vivid reminder of the famous declaration by Johannes Brahms: “Study Bach. There you will find everything.” Clockwise from left: Robert Stern and Dorothy Ornest; Philip Bezanson; Fred Cohen; Chapel Jazz Ensemble 4 / F A N F A R E Lydia Goehr Gilles Vonsattel Andrew Megill with Jamie-Rose Guarrine F A N F A R E / 5 Dorfman’s
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