The 22Nd Annual Conference for Conductors January 5

. . . Advancing the Art and Profession

THE 22ND ANNUAL CONFERENCE FOR CONDUCTORS

JANUARY 5 - 8, 2006

Great Conductor Retrospective: Frederick Fennell

The Roosevelt Hotel Madison Ave and East 45th Street New York, NY 10017 . . . Advancing the Art and Profession

2006 ANNUAL CONFERENCE FOR CONDUCTORS JANUARY 5-8 THE ROOSEVELT HOTEL, NEW YORK

THURSDAY, JANUARY 5

9:00 - 9:30am Registration at Avery Fisher Hall

9:45 - 12:30pm New York Philharmonic - Open Rehearsal Lorin Maazel, Conductor; James Ehnes, Violin Wagner: The Flying Dutchman Overture; Walton: Violin Concerto; Dvorak: Symphony No. 7

10:30am Ongoing Registration at the Roosevelt Hotel

1:30pm Tours: New York Philharmonic Archives, Met Opera Orchestra Library.

3:30 - 4:30pm Session 1: “Leonard Bernstein: The Anti-Interpretational, Hyper-Rational and Conceptual in Mahler 9, Beethoven 5 and Sibelius 1” Charles Bornstein New York Philharmonic Board Room, 132 W. 65th Street, 6th Floor

5:00 - 5:10pm Opening Remarks: Tonu Kalam, President

5:10 - 6:40pm Session 2: “Historical Performance and Bowing Practice with Modern Instruments” Nancy Wilson

6:50 - 7:50pm New Music Project I - David Bowden, NMP Coordinator

8:00 - 10:00pm Session 3: “The Education of Conductors” Kristian Alexander, Moderator; Judith Clurman, Harold Farberman, Michael Jinbo, Jonathan Sternberg, Kate Tamarkin

FRIDAY, JANUARY 6

8:30am Registration/Visit the Exhibits

8:45am Announcements

8:50 - 9:50am New Music Project II: Crossover Repertoire

- 2 - 10:00 - 11:30am Session 4: “Conducting the Inner World of Mahler” Gilbert Kaplan

11:30am Lunch on your own/Visit the Exhibits

12:45 - 2:00pm Session 5: “Jascha Horenstein’s Recorded Legacy” Joel Lazar

2:10 - 3:20pm Session 6: “Choral Masterworks: Mozart Requiem” David Hayes

3:30 - 4:50pm Session 7: “Making Connections with Your Community” Bruce Adolphe

5:00 - 6:00pm Session 8: “New York Orchestral Musicians” Per Brevig, Jerry Grossman, Craig Mumm

6:00 - 6:45pm Annual General Membership Meeting

6:45 - 8:00pm Reception/Silent Auction - sponsored by TBA

SATURDAY, JANUARY 7

8:30am Registration/Visit the Exhibits

8:45am Announcements

9:00 - 10:30am Breakfast, Guest Speaker: Lukas Foss sponsored by TBA

10:30 - 11:30am New Music Project III

11:40 - 12:40pm Session 9: “Orchestra Librarian Perspective” Lawrence Tarlow

12:40pm Lunch on your own/Visit the Exhibits

1:30 - 3:00pm Session 10: Open Forum with David Zinman Tonu Kalam, Moderator

3:10 - 5:00pm Session 11: “The Plight of the Orchestra” Robert Sherman, Moderator; Per Brevig, Jonathan Sternberg, Anthony Tommasini

5:10 - 6:00pm Round Table Discussions

6:00pm Dinner on your own

8:00pm Performance: University of North Carolina Wind Ensemble Michael Votta, Jr., Conductor; Donald Hunsberger, Guest Conductor

- 3 - The UNC Wind Ensemble Michael Votta, Jr., conductor Donald Hunsberger, guest conductor; Thomas Otten, piano

Program Pacific Fanfare (1994) Frank Ticheli

Elegy for a Young American (1967) Ronald Lo Presti Donald Hunsberger, conductor

Music for Prague 1968 (1968) Karel Husa I Introduction and Fanfare II Aria III Interlude IV Toccata and Chorale

- Intermission -

First Suite in Eb for Military Band, Op. 28, No. 1 (1909) Gustav Holst I Chaconne Ed. Matthews II Intermezzo III March Donald Hunsberger, conductor

Rhapsody in Blue (1924) George Gershwin Arr. Grofé/Hunsberger

“Apollo Unleashed” from Symphony No. 2 (2003) Frank Ticheli

SUNDAY, JANUARY 8

8:30am Registration/Visit the Exhibits

8:45am Announcements

9:00–10:15am Session 12: “John Corigliano Presents His Symphony No. 3” Michael Shapiro, Moderator

10:25–10:40am Awards Presentation Theodore Thomas Award Winner: David Zinman

10:45–12:45pm Great Conductor Retrospective: Frederick Fennell Donald Hunsberger, Moderator; Sandra Dackow, Coordinator John Beck, Kanamori Keiji, Toru Miura, Robert Simon, Thomas Slattery University of North Carolina Wind Ensemble - Michael Votta, Jr., Cond.

12:45 - 1:00pm Closing Remarks: President Kalam

1:15 - 3:30pm Board of Directors Meeting

- 4 - EVENING ACTIVITIES IN NEW YORK

Thursday, January 5, 2006 New York Philharmonic - Lorin Maazel, conductor www.newyorkphilharmonic.com - (212) 875-5656

Metropolitan Opera - Lucia di Lammermoor www.metoperafamily.org/metopera/ - (212) 362-6000

New York City Ballet www.nycballet.com - (212) 870-5570

Friday, January 6, 2006 New York Philharmonic - Lorin Maazel, conductor www.newyorkphilharmonic.com - (212) 875-5656

Metropolitan Opera - Wozzeck www.metoperafamily.org/metopera/ - (212) 362-6000

New York City Ballet - Swan Lake www.nycballet.com - (212) 870-5570

New York Knicks vs. Washington Wizards - Madison Square Garden www.nba.com/knicks/ - (212) 465-JUMP

Saturday, January 7, 2006 New York Philharmonic - Lorin Maazel, conductor www.newyorkphilharmonic.com - (212) 875-5656

Metropolitan Opera - L'elisir d'amore, afternoon; Die Fledermaus, evening www.metoperafamily.org/metopera/ - (212) 362-6000

New York City Ballet - Swan Lake www.nycballet.com - (212) 870-5570

*****

SESSION LOCATIONS

All on-site sessions will be held in the The Grand Ballroom, unless otherwise indicated.

THIS SCHEDULE IS SUBJECT TO CHANGE WITHOUT NOTICE.

- 5 - Welcome to the Conductors Guild Annual Conference!

We are pleased to return to New York every three years as part of our rotation of conference sites. The vast artistic resources of this great city are always a natural draw for our constituency and I know that every one of you will find something to excite and inspire you during your stay here.

It is a special privilege to devote our annual Great Conductor Retrospective this year to the late Frederick Fennell, who was not only a superb conductor, educator and wonderful human being, but also a great friend and supporter of the Guild and frequent attendee of past conferences. Dr. Fennell’s memory is being honored this weekend by live performances by the University of North Carolina Wind Ensemble, under the direction of CG Board member Michael Votta, Jr.

I want to express my sincere thanks to Earl Groner, Vice-President of the Guild and Conference Committee Chair; Stephen Czarkowski, Conference Coordinator; Sandra Dackow, Coordinator of the Fennell Retrospective; and David Bowden, New Music Project Coordinator, for their tireless efforts to assemble the best possible lineup of events for you. The artistic richness of our profession is well represented by the sessions, pre- senters and panelists you see profiled in this program book.

Special thanks are extended to our Executive Director, R. Kevin Paul, for his devotion and expertise in handling the everyday logistics of Guild business. Kevin will be leaving his position at the end of June and we will miss him greatly.

I also want to thank our exhibitors for their interest in our work and urge you all to visit their displays and get to know some of the wonderful people in the business side of our profession.

I am happy to announce that plans are developing well for the 2007 Annual Conference to be held in Toronto next January. This major North American city has a wealth of musical opportunities and will provide new prospects to expand our organizational base.

I hope to meet as many of you as possible this weekend. Please feel free to approach me with any questions or concerns you might have regarding the Conference or the Guild in general. Our organization exists to serve you and our profession, and I will be happy to do my best to fulfill that mission.

Enjoy the weekend!

Tonu Kalam President

- 6 - A composer, author, educator and performer, BRUCE ADOLPHE is the Artistic and Education Advisor for the Chamber Music Society of Lincoln Center, founding creative director of PollyRhythm Productions, and the comic keyboard quiz-master of NPR’s weekly radio program Piano Puzzlers. As a composer, Adolphe has been written works for many of the world’s most renowned artists, including Itzhak Perlman, Sylvia McNair, the Beaux Arts Trio, the Orpheus Chamber Orchestra, the National Symphony, the Caramoor Festival, St. Luke’s Orchestra, the New York Chamber Symphony, the Metropolitan Opera Guild, the Brentano String Quartet, the Miami Quartet, The Chamber Music Society of Lincoln Center, Chicago Chamber Musicians, the Santa Fe Chamber Music Festival, and many others. His many compositions include four operas and several theater pieces, all of which have been produced throughout the United States. He has been composer-in-residence at many festivals and institutions, including the Santa Fe Chamber Music Festival, Chamber Music Northwest, Music from Angel Fire, Bravo! Colorado, the Grand Canyon Festival, the Moab Festival, the Virginia Arts Festival, the Folger Shakespeare Theater in Washington, D.C., the Perlman Music Program, the Bridgehampton Chamber Music Festival, Chamber Music Virginia, the O.K. Mozart Festival and SummerFest La Jolla. Adolphe served as the Distinguished Composer- in-Residence at the Mannes College of Music for the 2003-04 term. Co-hosted with Fred Child, NPR’s weekly Piano Puzzlers show features Adolphe at the piano, playing folk tunes and popular songs in the styles of famous Classical composers for call-in contestants. In a style that is a cross between Car Talk and Wil Shortz’s Puzzles, Bruce Adolphe and Fred Child informally talk about the musical issues raised by Adolphe’s comic compositions. The show’s popularity during the last year has led to its inclusion in the listening options for Delta Airlines. Now in its third year, Piano Puzzlers is heard in over 200 cities. Formerly on the faculties of the Juilliard School and New York University and a Visiting Lecturer at Yale, Adolphe has been the lecturer of the Chamber Music Society of Lincoln Center since 1992, and has been featured in nationally broadcast Live from Lincoln Center television programs. In December, 2003, Adolphe discussed and illustrated aspects of Bach’s Brandenburg Concertos from the harpsichord in a live national television broadcast of The Chamber Music Society of Lincoln Center’s 35th anniversary concert from Tully Hall. In addition to his lecture series, Inside Chamber Music, now in its 12th season at Lincoln Center, Adolphe has been a featured lecturer since 2001 at the Metropolitan Museum of Art in New York, where his series is called A Composer’s View. A much sought- after speaker and concert host, Adolphe has appeared at most of the major concert series in the United States, as well as at education conferences, festivals, and competitions. Adolphe has written three books on music: The Mind's Ear: Exercises for Improving the Musical Imagination; What to Listen for in the World; and Of Mozart, Parrots and Cherry Blossoms in the Wind: A Composer Explores Mysteries of the Musical Mind. His books are used in college and conservatories throughout the United States, and excerpts have been read as short features on National Public Radio. The recently published Origins of Creativity (Oxford University Press), includes summaries and highlights of lectures by renowned scientists, including Antonio Damasio and Benoit Mandelbrot; artists Dale Chihuly and Francoise Gilot; and Bruce Adolphe, as the spokesperson for creativity in music. A chapter on Bruce Adolphe is included in the book The Muse that Sings: Composers

- 7 - Speak About the Creative Process by Ann McCutchan (Oxford University Press). Adolphe is also included in both the Groves Dictionary of Music and Musicians and the Groves Dictionary of Opera, as well as the Harvard Biographical Dictionary of Music. For the Chamber Music Society of Lincoln Center, Bruce Adolphe introduced every concert from the stage of Alice Tully Hall for eight seasons, created the lecture series Inside Chamber Music, developed and programmed several new music series, including the current Double Exposure, created the series Chamber Music Beginnings, which he hosted for several seasons, and created the sold-out family concert series Meet the Music! In addition to education programs and new music events, Adolphe has been involved in the conception and programming of many subscription concerts at CMS, such as the Brahms-Schubert Festival and the Musical Evolutions concerts. Adolphe continues to appear in Tully Hall pre-concert events as the host of Composer Chats, in which he explores issues of composition with guest composers. Adolphe is also the host of Double Exposure. Adolphe has also toured with artist members of CMS, as concert host and lecturer. He has also appeared as a pianist and conductor with CMS artist members and guest musicians, in performances of his own music and that of other living composers. Since 1993, Adolphe has appeared regularly in nearly every Meet the Music concert, frequently acting as characters ranging from the popular “private ear’ Inspector Pulse to Schubert’s brother Ferdinand to Igor Stravinsky. Bruce’s many compositions for young listeners have often been premiered on this series before being performed throughout the United States and around the world. With Julian Fifer, Bruce Adolphe co-founded PollyRhythm Productions, a company devoted to the creation of music, books, scripts, and games linking musical concepts to science, art, history, and daily life. The company is named after Adolphe's opera-and-jazz- singing parrot, Polly Rhythm. Adolphe’s compositions for young people include Marita and Her Heart’s Desire, recorded on Telarc with Itzhak Perlman and the Chamber Music Society of Lincoln Center; Little Red Riding Hood and Goldilocks, recorded with Dr. Ruth Westheimer; The Amazing Adventure of Alvin Allegretto, a comic opera written for the Metropolitan Opera Guild; Urban Scenes for Kids and String Quartet; The Purple Palace, commissioned by the Orpheus Chamber Orchestra; Tyrannosaurus Sue – A Cretaceous Concerto, written for the unveiling of the dinosaur at Chicago’s Field Museum in May of 2000; Tough Turkey in the Big City, commissioned by The Chamber Music Society of Lincoln Center; Carnival of the Creatures, the never anticipated, un-awaited for sequel to you know what; Red Dogs and Pink Skies: A Musical Celebration of Paul Gauguin, created in conjunction with an exhibi- tion at the Metropolitan Museum of Art, and recorded on the PollyRhythm label; Witches, Wizards, Spells, and Elves: The Magic of Shakespeare, commissioned by The Chicago Chamber Musicians for a collaboration with the Chicago Shakespeare Theater; and Oceanophony, with poems by Kate Light, commissioned by The La Jolla Music Society in conjunction with the 100th Anniversary of the Scripps Institute of Oceanography. This last work was premiered in August 2003, at the Birch Aquarium of the Scripps Institute. Adolphe’s works for young people have been performed throughout the world by such orchestras and ensembles as the Los Angeles Chamber Orchestra, the Orpheus Chamber Orchestra, the Saint Louis Symphony, the Milwaukee Symphony, the Orlando Symphony, and ensembles and orchestras in Europe and Australia. Recent commissions include What Dreams May Come?, a work celebrating Mr. Adolphe’s 50th Birthday in 2005 for the Philadelphia Chamber Orchestra with Ignat Solzhenitsyn, music director, and The Tiger’s Ear: Listening to Abstract Paintings, written for the Armstrong Chamber Concerts.

- 8 - Adolphe’s music has been recorded on the Telarc, Naxos, CRI, Delos, Koch, Summit and PollyRhythm labels. The Milken Archive’s/Naxos “American Classics” cd of Adolphe’s music inspired by Jewish subjects was one of five recordings that won a Grammy for producer David Frost in 2005. Adolphe’s film scores include the permanent documentary at the Holocaust Museum in Washington, D.C.

KRISTIAN ALEXANDER has conducted several professional instrumental and vocal ensembles, such as the Windsor Symphony Orchestra (Windsor, Canada), the Metropolitain Orchestra (Montreal, Canada), the Royal Conservatory of Music Symphony Orchestra (Toronto, Canada), the Oakville Chamber Orchestra (Oakville, Canada), the Vaughan Symphony Orchestra (Toronto, Canada), the Internationale Bach-Collegium and Gächinger Kantorei (Stuttgart, Germany), the “Mozarteum” Symphony Orchestra (Sofia, Bulgaria). In 2005 he was appointed Music director of the International Music Academy (Toronto, Canada). In January 2004 he was invited as Music director and Principal conductor of the Vaughan Symphony Orchestra (Toronto, Canada). The same year he was also appointed professor (string instruments) at the Canadian Conservatory for Music and Arts (Toronto, Canada). In 2004 as well he was recruited by AMS Inc. as a consultant for the Toronto Symphony Orchestra where he has successfully completed a $1.1 million project. In 2003 he accepted the position of Principal examiner (Music) of the world largest private schools International Baccalaureate Organization (London, England). As recognition of his musicianship he was appointed member of the Board of the Directors of the Conductors Guild. He is also director on the Board of the Southern Ontario Music Chamber Institute (Oakville, Canada) and of the International Music Academy (Toronto, Canada). Kristian Alexander has worked with Maestro Gustav Meier (Ann Arbor, Santa Cruz), Maestro Marin Alsop (Santa Cruz), Maestro Helmuth Rilling (Stuttgart), Maestro John Morris Russell (Windsor), Maestro Nurhan Arman (Toronto), Maestro David Agler (Montreal), Maestro Michael Milkoff (Sofia). He has recorded several live concerts for the International Bachakademie (Stuttgart), the National Radio Broadcasting Company, and the National Television of Bulgaria. He is affiliated with professional associations in USA, Canada, Germany, and Bulgaria. Mr. Alexander speaks English, French, Russian, and Bulgarian and has extensive working knowledge in Italian, German, Czech, Latin, Greek, and Hebrew languages. In addition to master degrees in conducting and music history, he holds various degrees in anthropology, psychology, theology, computer science, and arts management from acade- mies and universities in Toronto, Montreal, Stuttgart, Sofia, and Plovdiv.

- 9 - JOHN BECK's career as a performer and teacher includes posts as percussionist, timpanist, marimba soloist with the United States Marine Band (1955-59); principal percussionist with the Rochester Philharmonic (1959-62); and timpanist for the Rochester Philharmonic (1962-2002). He has made numerous solo appearances, including performances with the Eastman Wind Ensemble, Syracuse Wind Ensemble, Chautauqua Band, Rochester Chamber Orchestra, Corning Symphony, Rochester Philharmonic, Memphis State Wind Ensemble, Pennsylvania Festival Band, and Filharmonia Pomorska, Poland. As a conductor, Beck has appeared with the Eastman Percussion Ensemble (1962-); in a tour of South America with the Aeolian Consort (1977); and has participated in numerous guest conducting and percussion clinics in the United States and Europe. Articles by Beck have been published in Music Journal, The Instrumentalist, Woodwind World, Brass and Percussion, and Percussive Notes; he was also percussion columnist for the National Association of College Wind and Percussion Instructors (NACWPI) Journal (1965-72). His compositions have been published by Carl Fischer, Boston Music, Kendor Music, Meredith Music, MCA, Wimbledon Music, Inc., Studio 4 Productions, and CPP/Belwin. He has served as state chairman for percussion, New York State School Music Association (NYSSMA, 1970-72); president of the New York State Percussive Arts Society (1976-82); national second vice president (1982-84), first vice president (1984-86), and president of the national Percussive Arts Society (1987-90). Among the honors Beck has received include being named the Mu Phi Epsilon Musician of the Year (1976); the Monroe County School Music Association Award (1996); Eastman's Eisenhart Award for Excellence in Teaching (1997); and the Arts and Cultural Council of Greater Rochester Award for contributions to the arts (1999). He was inducted into the Percussive Arts Society Hall of Fame in 1999. At Eastman’s 2003 Commencement, he was awarded the Edwin Peck Curtis Award for excellence in undergraduate teaching.

CHARLES BORNSTEIN has been named conductor of four North American Orchestras/Festivals, Newfoundland Symphony, London Canada Mozart Festival, Rockford Illinois Symphony, Woodstock Summerfest, that flourished under his direction, resulting from adventuresome programming and a unique interpretive view, “totally informed, totally inspired.” Hermann Trotter of the Buffalo News wrote, “Bornstein has had a galvanizing effect upon the orchestras of which he has been named Music Director/Conductor” and this has followed him in concerts/recordings with the BBC Philharmonic, Radio France Festival Presences and the Bavarian Radio Orchestra, with whom he has just released his latest CD in Europe. Upon discovering the Jerusalem Version of Mahler’s Symphony Nr. 1 at the Academy of Music 2002 in Jerusalem, Zubin Mehta recommended him to the New York Philharmonic where he has been named to the position of Bernstein Scholar with his own series on the interpretive genius of Leonard Bernstein and Pre-Concert Keynote addresses.

- 10 - Before the age of 21, Bornstein was chosen by Leopold Stokowski as his Assistant Conductor of the American Symphony Orchestra in Carnegie Hall. In addition to piano studies with Paul Jacobs of the New York Philharmonic, he studied composition with Elliott Carter. As a conductor, he graduated from the Juilliard School in New York (B.M. Degree) and studied with Herbert von Karajan at the Salzburg Mozarteum Summer Academy earn- ing the Conducting Diploma and Final Concert which brought him to the attention to Hans Swarowsky where he was immediately accepted in Vienna as his last private student combined with Swarowsky’s Conducting Class at the Hochschule fur Musik Vienna and Wiener Meisterkurs. “SENSATION IN THE MUSIKVEREIN!” as the headline of the Kourier, Vienna’s most important paper, pronounced Bornstein’s debut in Vienna’s historical, world famous hall. Other recent engagements include: Bavarian State Radio Orchestra and Chorus - Munich, BBC Philharmonic, Belgrade Philharmonic with Evelyn Glennie (Mahler IX, Tschaikowsky V, Elgar I re-engagemnt broadcasts/concerts), Radio France Paris (2 international broadcasts), Gulbenkian Symphony Orchestra Lisbon (re-engagement), Montpellier Philharmonic France, Orchestre Ostinato Paris, Krakow Philharmonic and Chorus Poland/Vienna (Mahler II + Schoenberg Friede auf Erden, Mozart C Minor Mass) Cluj and Timisoara Philharmonics Romania, Stavanger Symphony Norway, Haydn Symphonietta Wien (in Schönbrunn Palace), Sudwestründfunk Symphony Orchestra Baden-Baden, Buffalo Philharmonic, Brooklyn Philharmonic, Inland Empire Symphony Orchestra CA, Modesto Symphony Orchestra CA, National Arts Centre Orchestra Canada, Corfu GR University Orchestra. As Conductor and teacher, he has also served at the Royal Conservatory Toronto, University of Tel Aviv, Academy of Music and Hebrew U Jerusalem. He was the sole teacher of Gilbert Kaplan for Mahler II Symphony project. Recent recordings, on major labels with major orchestras and ensembles, have received astonishing critical notices worldwide. Bornstein’s recording of the Xenakis Kraanerg with DJ Spooky, rated #1 on the Pop Charts in LA and Montreal, the first Avant-Garde/Pop crossover. As composer, Bornstein’s Symphony In Memory of President Kennedy and Martin Luther King Jr. was premiered in Carnegie Hall with the American Symphony Orchestra, Comissiona conductor. Bornstein’s orchestrations of the Complete Piano Music Of Arnold Schoenberg and his Berg Orchestra Sonata have had Premieres in Vienna, Germany and Tel Aviv. His orchestration of the Schoenberg Op. 23 Five Orchestra Pieces is now published exclusively by Wilhelm Hansen Editions Copenhagen and will be released on CD (2006) by the SWR Baden-Baden Sinfonieorchester, with Bornstein Conductor. As author, Mr. Bornstein’s textbook in preparation, BERNSTEIN CONCEPT analyzes and exposes the interpretive thought behind the Bernstein interpretations that Mr. Bornstein has given at the New York Philharmonic. Mr. Bornstein has just been named Leonard Bernstein Scholar in Residence of the New York Philharmonic for the 2005-2007 seasons.

- 11 - DAVID BOWDEN, Director of the New Music Project of the Conductors Guild, David Bowden is nationally recognized as an advocate for the arts, music education, and innovative programming. He is a popular speaker at conferences as well as at leadership organizations, service clubs, and school events. David Bowden has served as Music Director and Conductor of the Columbus Indiana Philharmonic and the Philharmonic Chorus since 1987. Bowden and the Philharmonic have been broadcast nationwide on National Public Radio’s Performance Today and on Public Radio International’s Pipedreams. His recording with Dan McKinley and the Philharmonic of Marcel Dupré’s, Complete Music for Organ and Orchestra, is available on the international classical label, Naxos Records. David and the Philharmonic have won five ASCAP awards for creative programming. Bowden earned a doctorate in orchestral conducting and a master’s degree in choral conducting from the Indiana University School of Music. He received his Bachelor of Music degree from the Wheaton College Conservatory of Music. Other awards and distinctions include election to the 2006 edition of Who’s Who in America, serving as an ASCAP Standard Awards Panel Judge, and lifetime membership in the Pi Kappa Lambda National Honor Society. Bowden is also the Music Director and Conductor of the Terre Haute Symphony Orchestra and the Carmel Symphony Orchestra. A native of North Carolina, David loves both the mountains and the ocean. He is an avid reader and basketball fan, and enjoys run- ning and traveling. David and his wife, Donna, recently celebrated their 31st wedding anniversary. They have two grown daughters.

PER BREVIG is the music director and conductor of East Texas Symphony Orchestra. In addition to the orchestra’s subscription series, he also conducts educational concerts, opera, ballet, and pops concerts. During his tenure with the orchestra he has worked with artists as diverse as Lynn Harrell, Hilary Hahn, Lang Lang, Christine Brewer, Cho- Liang Lin, Ralph Kirshbaum, Eroica Trio, Mark O’Connor, and lead singer of the country and western band Alabama, Randy Owen. Mr. Per Brevig received his music training at The Juilliard School and holds a doctor of musical arts degree. He was principal trombonist of the Metropolitan Opera Orchestra from 1968 - 94 and has performed as soloist with orchestras throughout the world. He has numerous commissions and premiers to his credit. The greatest musical experience and education in Mr. Brevig’s career has been his fortunate association with the finest conductors of our time as well as those of the past such as: Ansermet, Barbirolli, Bernstein, Bohm, Cleva, Karajan, Kleiber, Kubelik, Leinsdorf, Monteux, Munch, Patane, Steinberg, Stokowski, and Tennstedt. On leaving the Metropolitan Opera, Mr. Brevig’s conducting career expanded quickly. In the five years following 1994 he conducted more than 20 operas. A review in The

- 12 - New York Times declared that he “shaped the performance [of Rigoletto] artfully.“ In addition to his position as music director and conductor of East Texas Symphony Orchestra, he is continuing his teaching affiliations with Aspen Music Festival, Colorado, The Juilliard School, Manhattan School of Music, and Mannes College of Music. His conducting repertoire runs the gamut from Renaissance to contemporary music. A staunch advocate of contemporary music, he has commissioned and performed numerous new works. Per Brevig has received many awards, including a Koussevitsky Fellowship, Henry B. Cabot Award, three Naumburg Fellowships, the Neill Humfeld Award for excellence in teaching, and a prize in the XIV International Music Competition in Prague. In 1990, King Olav V of Norway awarded him the Royal Medal of St. Olav in recognition of his efforts on behalf of Norwegian music and culture in the United States. Mr. Brevig has studied the medical problems faced by musicians and serves on the Advisory Boards of Medical Problems of Performing Artists and Musikphysiologie und Musik Medizin, a publication from Stuttgart, Germany. A champion of Scandinavian music, Mr. Brevig is founder and president of the Edvard Grieg Society, Inc. New York. Since 1991, the Society has, under his leadership, produced recitals, chamber performances, radio broadcasts, and symposia at Columbia University, all to critical acclaim. Recently Mr. Brevig conducted yet another concert at Lincoln Center with the Orchestra of St. Luke’s as part of a series of concerts of Norwegian and American Music.

JUDITH CLURMAN serves on the faculty of The Juilliard School where she is Director of Choral Activities and founder of the school’s resident chorus, The Juilliard Choral Union. In the Spring 2005 season, Ms. Clurman is conducting the New York City Ballet in Peter Martins’ ballet Chichester Psalms. Ms. Clurman has served as guest conductor for the Bravo: Vail Music Festival, as well as with the Virginia Symphony, the Orchestra of St. Luke’s, the Rebecca Kelly Ballet, the José Limon Dance Company, and Alvin Ailey II. Numerous pieces have been composed for her, including works by Babbitt, Bolcom, Heggie, Moravec, Paulus, Read Thomas, and Rouse; and she has premiered pieces by Bernstein, Glass, Kernis, Rorem, and Zwilich. Many are featured on her CDs Divine Grandeur, The Mask, and A Season’s Promise, performed by The New York Concert Singers, a professional ensemble she conducted for 15 years. Ms. Clurman’s choruses have performed at Lincoln Center with the New York Philharmonic, Mostly Mozart and Great Performers, and at Carnegie Hall with the Orchestra of St. Luke's, the Boston Symphony, the American Composers Orchestra and the New York Pops, as well as in venues throughout the United States and Europe. Her collaborators range from songwriters Jason Robert Brown, David Shire, Stephen Schwartz, Sir Andrew Lloyd Webber, and Marvin Hamlisch to the Sesame Street Muppets. Ms. Clurman’s master classes and choral workshops have been held at the Juilliard School, Cambridge University, Eton College, the Janácek Academy in the Czech Republic, the Università di Ancona, Italy, and the Zimriya in Israel. Ms. Clurman is a member of the Special Classificiations Committee of ASCAP

- 13 - JOHN CORIGLIANO, winner of the 2001 Pulitzer Prize in Music for his Symphony No. 2, is internationally celebrated as one of the leading composers of his generation. In orchestral, chamber, opera and film work, he has won glob- al acclaim for his highly expressive and compelling compositions as well as his kaleidoscopic, ever-expanding technique. Corigliano’s Pulitzer Prize-winning Symphony No. 2, an expansion and rewriting of his String Quartet (1995), was premiered in November 2000 with the Boston Symphony Orchestra and Seiji Ozawa conducting; a tour the following month included a performance in Carnegie Hall and the first recording of the symphony, paired with The Mannheim Rocket, was released in spring 2004 on Ondine Records with John Storgårds conducting The Helsinki Philharmonic. In March 2000, Corigliano won another coveted prize: the “Oscar,” the Academy Award, for “The Red Violin,” his third film score. He was the second classical composer, after Aaron Copland, to be so honored. Esa-Pekka Salonen leads soloist Joshua Bell and the strings of the London Philharmonia in Sony Classical’s recording of the soundtrack, which also features the first recording of The Red Violin: Chaconne for Violin and Orchestra, an 18-minute movement for violin and full orchestra introduced in 1997 by Bell with the San Francisco and Boston symphonies. “The Red Violin” soundtrack received numerous awards including: the Canadian Genie Award for best film score (an Oscar equivalent) and the Quebec Jeutra Award, as well as the German Critic’s Prize. In September 1998, the Venice Film Festival opened its festivities with “The Red Violin.” Corigliano’s first film score, for “Altered States,” was nominated for an Academy Award in 1981; his second, for the British “Revolution,” received that country's equivalent - the 1985 Anthony Asquith Award for distinguished achievement in film composition. During the 2004-05 season, John Corigliano’s new wind symphony Circus Maximus received its world premiere on 16 February by the University of Texas at Austin Wind Ensemble. The New York premiere took place at Carnegie Hall on 27 February. Scored for large wind band, Corigliano’s new score is conceived as a spatial piece in which the audience sits in the middle of the arena “Circus Maximus” receiving simultaneous information from varied locations throughout the hall. In July 2005, Marin Alsop leads Joshua Bell and the Bournemouth Symphony Orchestra in the UK premiere of the Concerto for Violin and Orchestra (“The Red Violin”) at the Proms, and the Piano Concerto receives its Italian premiere in January 2005. Last season, John Corigliano’s new Concerto for Violin and Orchestra (“The Red Violin”) debuted on 18 September at the Baltimore Symphony Orchestra with soloist Joshua Bell and conductor Marin Alsop before traveling to co-commissioning partners the Dallas and Atlanta symphony orchestras in late September and November respectively. The San Francisco Ballet, also a co-commissioner of the concerto, presents the choreographed version in spring 2006. Corigliano’s orchestration of the song cycle Mr. Tambourine Man: Seven Poems of Bob Dylan received its world premiere at The Minnesota Orchestra in October 2003 with soprano soloist Hila Plitmann and conductor Robert Spano. The Symphony No. 2 and The Mannheim Rocket received their Scandinavian premieres at The Helsinki Philharmonic in the fall paired with premiere recordings of both works on Ondine Records. Capping off a busy fall, The Red Violin: Chaconne for Violin and Orchestra opened the 2003 Beijing Festival in China. Highlights of Corigliano’s recent seasons have included the Moscow premiere of

- 14 - Symphony No. 2 by the Chamber Orchestra Kremlin, followed shortly by the Canadian premiere by I Musici di Montreal; and a focus on his music at the American Presences Festival at the Royal Northern College of Music in Manchester, UK. In May 2001, the American Ballet Theater unveiled at Lincoln Center a new full-length ballet, “The Pied Piper,” choreographed by David Parsons and set to a freely-adapted, expanded version of Corigliano’s flute concerto, Pied Piper Fantasy. During the 1999 and 2000 seasons, two new works written for soprano Sylvia McNair received their first performances: Vocalise for Soprano, Electronics, and Orchestra, one of the six “Millennium Messages” commissioned by the New York Philharmonic and Kurt Masur; and Mr. Tambourine Man: Seven Poems of Bob Dylan, in Carnegie Hall with pianist Martin Katz in March 2000, which then toured Europe and the United States. Later that same month, Phantasmagoria, a revisitation of themes from Corigliano’s opera The Ghosts of Versailles debuted at The Minnesota Orchestra with conductor Giancarlo Guerrero. Corigliano’s revised A Dylan Thomas Trilogy (1999) takes his three earlier Thomas settings - Fern Hill, Poem in October, and Poem on his Birthday - and integrates them into a new setting for boy soprano, tenor, baritone, chorus and orchestra; the result is an evening-length “memory play in the form of an oratorio,” as the composer describes it. Leonard Slatkin led the work's March 1999 premiere with the National Symphony Orchestra at the Kennedy Center and on tour at Carnegie Hall - continuing a long and fruitful collaboration which in 1997 brought the National Symphony its first-ever Grammy award, for Classical CD of the Year, for its BMG Classics release of Corigliano’s Of Rage and Remembrance and Symphony No. 1. In April 1999, Corigliano’s The Ghosts of Versailles received its European premiere, in a new production directed and designed by Jerome Sirlin for the opening of the new opera house in Hannover, Germany; Andreas Delfs conducted. This production was awarded the Hannover Opera's GFO Wanderpreis for Best New Production of the 1998- 1999 Season, cited for its “scenic and musical integrity and its high artistic standards.” Commissioned by The Metropolitan Opera, where it premiered in December 1991, the immensely popular Ghosts sold out two engagements at the Metropolitan (1991 and 1994) as well as its 1995 production at the Chicago Lyric Opera. The nationwide telecast of the Metropolitan’s premiere production was released on videocassette and laser-disk by Deutsche Grammophon. Following its premiere, The Ghosts of Versailles collected the Composition of the Year award from the first International Classic Music Awards. Commissioned by the Chicago Symphony Orchestra when he was composer-in- residence there, from 1987-90, Corigliano’s Symphony No. 1, an impassioned response to the AIDS crisis, captured the 1991 Grawemeyer Award for Best New Orchestral Composition; Chicago’s recording of the symphony, on the Erato label, won the Grammy awards for both Best New Composition and Best Orchestral Performance. The Symphony has already has been played by nearly 125 different orchestras worldwide, and continues to be scheduled by virtually all of the leading U.S. orchestras. Corigliano first came to prominence after winning the chamber music prize at the 1964 Spoleto Festival for his Sonata for Violin and Piano. Other important commissions have come from the New York Philharmonic (Concerto for Clarinet and Orchestra, Fantasia on an Ostinato), Chamber Music Society of Lincoln Center (Poem in October), New York State Council on the Arts (Oboe Concerto), flutist James Galway (Pied Piper Fantasy), and the Boston Symphony Orchestra (Promenade Overture). Recent premieres include Chiaroscuro (1997), a soundscape for two pianos tuned a quarter-tone apart; DC Fanfare (1997), written for Slatkin and the National Symphony; Dodecaphonia (1997), a whimsical song about serialism with a text by Mark Adamo, premiered by Joan Morris and William

- 15 - Bolcom; and the 40-minute String Quartet (1995), commissioned by Lincoln Center for the Cleveland Quartet’s valedictory performance. In 1996, the Quartet’s recording, like that of the Symphony before it, won Grammy awards both for Best Performance and again for Best New Composition, making Corigliano the first composer to win twice in the history of that award. Sony Classical’s “Phantasmagoria,” features cellist Yo-Yo Ma and pianists Emanuel Ax and James Tocco, who offer the premiere recordings of Fancy on a Bach Air, for solo cello; the titular Phantasmagoria, for cello and piano, based on themes from The Ghosts of Versailles; as well as new interpretations of the solo piano pieces Etude Fantasy and Fantasia on an Ostinato. Born in New York on 16 February 1938, Corigliano comes from a musical family. His father was concertmaster of the New York Philharmonic from 1943 to 1966 and his mother was an accomplished pianist. Corigliano holds the position of Distinguished Professor of Music at Lehman College, City University of New York and, in 1991, was named to the faculty of The Juilliard School. Also in1991 he was elected to the American Academy and Institute of Arts and Letters, an organization of 250 of America's most prominent artists, sculptors, architects, writers, and composers. In 1992, Musical America named him their first "Composer of the Year." The National Arts Club in New York City honored him with their Gold Medal in March 2002. John Corigliano has received grants from Meet the Composer, the National Endowment for the Arts, and the Guggenheim Foundation. His music is recorded on Sony, RCA, BMG, Telarc, Erato, New World, and CRI, and published exclusively by G. Schirmer.

STEPHEN CZARKOWSKI, Conference Coordinator, currently Artistic Director and Conductor of the Youth Orchestra of Fairfax, Music Director of the Georgia Governors Honors Program Orchestra, graduated from the Catholic University of America Orchestra this past May with a Graduate Artist Diploma in Conducting studying under Dr. Kate Tamarkin and Dean Murry Sidlin. At CUA, Mr. Czarkowski conducted Monteverdi's L'incoronazione di Poppea, Copland's The Tender Land and Britten’s Albert Herring with the CUA School of Music Opera Theatre. Mr. Czarkowski began his first season as the Music Director/Choir Director of St. John the Baptist Catholic Church in Silver Spring, Maryland, where he led the Brahms Ein Deutsches Requiem and repeated the performance with the Neumann Chorus and Delaware Symphony Orchestra. Last year with St. Johns they performed the Durufle Requiem and were invited to participate in a special mass for Cardinal McCarick. Recently, he was hired by Shepherd University (Professor of Cello, Artist in Residence, Conductor of Chamber Orchestra) and the Washington, DC Youth Orchestra as Cello and Conducting Faculty. In October 2004 he made his debut with the Friday Morning Club Orchestra, performing with guest pianist Seymour Lipkin. This past June, Mr. Czarkowski made his debut with Kids in Music where he conducted numerous piano concerti at the Reston Pavilion along with Rosita Mang, Founder and Director. Mr. Czarkowski graduated in the top percentile of his class from the Mannes College of Music (New School University) with a Master of Music degree in both cello and conducting in May of 2002. His conducting teachers were David Hayes, and Barbara Stein Mallow, cello. Mr. Czarkowski received his Bachelor of Music degree in 1999 from the Mannes College of Music under the tutelage of Carter Brey, principal cellist of the New

- 16 - York Philharmonic. Mr. Czarkowski led the National Symphony Orchestra in Washington, DC as a guest conductor, in conjunction with being selected for the National Conducting Institute, directed by NSO Music Director Leonard Slatkin. He has also guest conducted the Honolulu Symphony (Sameul Wong, Music Director) in subscription concerts to critical acclaim in performances of numerous concerti with winners of the Honolulu Symphony Youth Concerto Competition. In May 2002, he was invited by JoAnn Falletta to conduct The Virginia Symphony Orchestra. Mr. Czarkowski was a fellowship student in the first American Academy Conducting Class at the Aspen Music Festival during the summer of 2000 where he was a student of David Zinman and Murry Sidlin. At Aspen he conducted the American Academy Conducting Orchestra in performance and was a soloist in a reading session of the Dvorak Cello Concerto with the American Academy Orchestra. Later this month, Mr. Czarkowski will conduct the Washington County All Orchestra Concert Middle School Orchestra. Recently he gave a lecture for the Music Teachers of Washington County on Rehearsal Techniques and has been invited to return this coming spring. In February, he will participate in the American Symphony Orchestra League Donald Thulean Conducting Workshop in Los Angeles where he will work with the American Youth Symphony. Other workshops Mr. Czarkowski has participated in is the Conductors Guild Workshop in Ann Arbor, with Gustav Meier and Kenneth Kiesler and ASOL Workshop in Buffalo with JoAnn Falletta and Jorge Mester.

SANDRA DACKOW holds a Bachelor and a Master of Music, as well as the Doctor of Philosophy from the Eastman School of Music. An Aspen Conducting fellow in 2001, she was also awarded the Silver Medal in the 2001 Vakhtang Jordania/New Millennium International Conducting Competition in Kharkov, Ukraine. She is currently serving as Music Director of the Hershey Symphony Orchestra in Pennsylvania and is a former Music Director of the Ridgewood Symphony Orchestra in New Jersey. Recent guest conducting has included appearances with the Berkshire Symphony, Massachusetts, Missouri Symphony Chamber Orchestra, Butler Symphony, Pennsylvania and Kharkov Philharmonic, Ukraine. This season will see, among others, performances with the Helena Symphony, Montana, Kharkov Philharmonic and the All-Queensland Honors Orchestra in Brisbane, Australia. A Native of East Paterson (Elmwood Park), New Jersey, Dr. Dackow has conducted bands and orchestras in the schools of Glen Rock and East Brunswick, New Jersey, and served as Supervisor of Music for the Ridgewood NJ public schools. She was a member of the faculty of Slippery Rock University in Pennsylvania and has been a visiting faculty member during the summer sessions of the Eastman School of Music, Temple University, Montclair State College NJ, Wichita State University, the University of Alaska, Fairbanks and the Cork School of Music, Ireland. She most recently served on the faculty of Brandeis University, Waltham, Massachusetts, as director of the University Symphony Orchestra and Wind Ensemble. An annual ASCAP award winning arranger, Dr. Dackow has generated over sev- enty works for young orchestras and is active as a guest conductor, adjudicator and clinician

- 17 - across the nation and Canada, in England, Hong Kong, South Africa and throughout Australia and Ireland. Articles of hers have appeared in major professional journals and she has contributed to or co authored reference books and texts.

HAROLD FARBERMAN was born on November 2, 1929, on New York City's Lower East Side. Coming from a family of musicians (his father was the drummer in a famous 1920s klezmer band led by Schleomke Beckerman; his brother was also a drummer), it was inevitable that he would pursue music as a career. After graduating from the Juilliard School of Music on scholarship in 1951, Farberman became the youngest member of the Boston Symphony Orchestra (BSO) when he joined its percussion section. With a performer's knowledge of percussion instruments and a dissatisfaction with their conventional treatment by most composers, Farberman became an early advocate for the use of percussion sonorities as a major voice in compositional structures. During his twelve-year tenure with the BSO, Farberman earned a master’s degree in composition from the New England Conservatory of Music. His very first work, Evolution, written in 1954 for soprano, French horn, and seven percussion- ists, is scored for over one hundred percussion instruments and has been recorded four times, once by Leopold Stokowski. After hearing Evolution in 1955, Aaron Copland invited Farberman to study composition with him at Tanglewood. In 1956 his Quartet for Flute, Oboe, Viola and Cello received first prize in the New England Composer’s Competition with Walter Piston as head of the jury. In 1957 Greek Scene, a trio for mezzo soprano, piano, and percussion, was chosen to represent the United States in an International Composer’s Symposium held in Paris. Within the next few years a growing interest in his music led to several commissions and awards. During the summer that Farberman studied composition with Copland, he was also one of three active conductors in Maestro Eleazar de Carvalho’s conducting class, and in 1963 Farberman left the Boston Symphony to embark on a conducting career that has earned him an international reputation. He has been music director of the Colorado Springs, Colorado, and Oakland, California symphonies, and principal guest conductor of the Denver Symphony and the Bournemouth (Great Britain) Sinfonietta. Farberman has been a frequent guest conductor and recording artist of major orchestras, including the London Symphony, Royal Philharmonic, BBC, Stockholm Philharmonic, Swedish Radio, Danish Radio, Hessischer Rundfunk, and Hong Kong Philharmonic. For his dedication to the music of Charles Ives through performance and recordings, Farberman was awarded the Ives Medal. He is the founder of the Conductors Guild and also created the Conductors Institute, the premiere training ground for young conductors from around the world. His text The Art of Conducting Technique is published by Warner Brothers. Like Farberman the conductor, the music of Harold Farberman is well traveled and has been heard in numerous international venues. Albany Records released four CDs featuring works written by Harold Farberman, and his Cello Concerto was premiered by the American Symphony Orchestra in November 2000 at Lincoln Center's Avery Fisher Hall.

- 18 - LUKAS FOSS (b. 1922) has achieved remarkable distinc- tion as a composer, a conductor, and a pianist, and he is uni- versally regarded not only as one of America’s leading 20th- century composers but also as one of the major forces on the American music scene generally. In 1974 Aaron Copland referred to his works as “among the most original and stim- ulating compositions in American music.” Yet many observers have continued to characterize him as overly eclectic—even as once having aspired to the role of enfant terrible of American music—and as never having found a convenient artistic niche. That is, however, a reputation in which Foss takes great pride. Not only does his music defy classification, but he himself refuses to be categorized. His work has quite deliberately embraced a wide range of styles, techniques, influences, and approaches: from Copland-type Americana to the neoclassicism of Stravinsky, from aleatoric and graphic to precisely notated music, from tonality to rigor- ous serial techniques, and from stabs at his own brand of minimalism (long before it was fashionable) to the so-called postmodern composite variety—and much in between. But he has made each influence his own, and his works usually bear the unmistakable stamp of his hand. Born Lukas Fuchs in Berlin, he was soon recognized as a child prodigy. He began piano and theory lessons with Julius Goldstein [Herford], but following the German elec- torate’s “surrender” to the National Socialist Party, the installation of the Nazi regime with the appointment of Hitler as chancellor, and the commencement of state persecution of Jews, his parents emigrated swiftly to Paris in 1933. He continued his studies there: piano with Lazare Levy, composition with Noël Gallon, orchestration with Felix Wolfes, and flute with Louise Moyse. In 1937 his family resettled in the United States, where Foss continued his studies at the Curtis Institute in Philadelphia, with Isabelle Vengerova for piano, Rosario Scalero and Randall Thompson for composition, and Fritz Reiner for conducting. During his first year in America, Foss met Aaron Copland, who had a decisive influence on him and his musical direction. As Foss later recalled, “I had fallen in love with America because of people like Aaron,” and he once wrote to Copland, “Yours is the only American music I have performed consistently over the years.” Foss continued his composition studies with Paul Hindemith at Yale (1939–40) and his conducting studies at the Berkshire Music Center (Tanglewood) during the summers of 1939–43 with Serge Koussevitzky, who engaged him in 1943 as the pianist for the Boston Symphony Orchestra, a position he held until 1949. Foss’s initial acclaim as a composer came with his cantata The Prairie, on a poem by Carl Sandburg, which he wrote for soloists, mixed chorus, and orchestra. It was performed in 1944 in New York by Robert Shaw and his Collegiate Chorale, and it received honorable mention by the Music Critics’ Circle of New York. Over the next several years he achieved several further distinctions: In 1945 he was the youngest recipient to date of a Guggenheim fellowship in composition; and from 1950–52 he was in residence in Rome on Fulbright grants and as a Fellow of the American Academy. A year later he was appointed a professor of music at the University of California at Los Angeles, in both composition and conducting. During his California tenure, Foss also was active as a performer, directing the Ojai Festival and conducting twelve marathon concerts with the Los Angeles Philharmonic at the Hollywood Bowl, each devoted thematically to a single composer or geographic region. This was the beginning of his lifelong dedication to the music of contemporary com-

- 19 - posers and his recognized championship of new music. He founded the Improvisation Chamber Ensemble in 1957 at U.C.L.A., which provided expanded opportunities for exper- imentation both in his own music and for other composers. In 1963 Foss became music director and conductor of the Buffalo Philharmonic. Although some criticized his excessive programming of new music there (he was even dubbed the “would-be Boulez of Buffalo” in reference to Pierre Boulez’s troubled tenure as music director of the New York Philharmonic, where his attention to contemporary music was not always welcomed by conservative audiences), he brought the Buffalo Philharmonic into the limelight of the 20thcentury music world and thereby introduced the public to a broader range of new music. While there, he also founded the Center for Creative and Performing Arts at the State University of New York. Foss’s appointment in 1970 as conductor of the Brooklyn Philharmonia (now the Brooklyn Philharmonic) inaugurated a two-decade tenure during which he became especially known for his inventive programming, which also included a balance between the old and the new. He foreshadowed many of the future trends in programming: thematic programs, singlecomposer marathons (he opened his first season in 1971 with a four-and-a- half-hour Bach marathon), pre- and postconcert discussions and symposia (“Meet the Moderns”), and specialized new music events. From 1972 until 1976 Foss was also the conductor of the Kol Yisrael (state radio) Orchestra in Jerusalem (now the Jerusalem Philharmonic), and from 1981 until 1986 he was the music director of the Milwaukee Symphony—after which he was named its conductor laureate. Meanwhile, he continued to guest conduct major orchestras throughout America and Europe, and he has taught and been a composer-in-residence at such universities and conservatories as Harvard, Yale, Carnegie Mellon, Boston University, Tanglewood, and the Manhattan School of Music. In 1983, he was elected to the American Academy and Institute of Arts and Letters, of which he is now a Vice Chancellor. The holder of eight honorary doctorates, he is in constant demand as a lecturer. In 1986, at the National Gallery in Washington, DC, he delivered the prestigious Mellon Lectures. Mr. Foss has appreared as guest conductor of such major American orchestras as the Boston Symphony, Chicago Symphony, Cleveland Orchestra, the Los Angeles Philharmonic, the New York Philharmonic, Philadelphia Symphony Orchestra and the San Francisco Symphony. Abroad, he has led the Berlin Philharmonic, Leningrad Symphony, London Symphony Orchestra, Santa Cecilia Orchestra of Rome and the Tokyo Philharmonic, among others. Lukas Foss lives in New York City with his wife Cornelia, a noted painter. They have a son and a daughter.

- 20 - EARL GRONER is a member of the Music Department Faculty of the Scarsdale (NY) Public Schools where he teaches strings and orchestra. This is his forty-fourth con- secutive year as an active music educator. He is a Past President of the New York State School Music Association (NYSSMA), a Past President of the Westchester County (NY) School Music Association and presently is President of the Eastern Division of MENC: The National Association for Music Education. For two years, he served as Chair of the Alumni Board of Governors of the University of Michigan School of Music. Mr. Groner now serves as the Conductors Guild Vice-President and Chair of the Conference Committee. Born and raised in Pennsylvania, Earl Groner received his Bachelor of Music degree from the University of Michigan at Ann Arbor and his Master of Music degree from the New England Conservatory of Music. Additional musical training was received at Tanglewood where, for two summers, he was a Tanglewood Fellow in the Tanglewood Music Center Orchestra. Presently, he is completing his doctoral studies at Drew University. He has been elected to membership both to Phi Mu Alfa Sinfonia and Pi Kappa Lambda. Earl Groner has served in the Seventh U.S. Army Symphony Orchestra based in Stuttgart, Germany and performed for two seasons with the National Orchestral Association in New York City. He has had extensive experience both as an orchestral musician and as a professional orchestral conductor. He is Music Director of Empire State Concert Productions based in Scarsdale, New York and currently is in the process of forming the White Plains Symphony Orchestra, a resident professional orchestra for the City of White Plains, the County Seat of New York State’s Westchester County.

JERRY GROSSMAN has appeared in recital, with symphony orchestras, and with chamber ensembles throughout the United States. His long association with the Marlboro Festival has included performances with Rudolf Serkin, Pina Carmirelli and Alexander Schneider. He has frequently presented all six Bach Cello Suites on a single recital program. Mr. Grossman was born in Cambridge, MA. He began his studies at the Longy School of Music, attended Harvard University and the Curtis Institute of Music where he studied cello with David Soyer and chamber music with the members of the Guarneri Quartet and Mischa Schneider. His first recording on the Nonesuch label was of the Kurt Weill Cello Sonata, which he premiered in the United States at the invitation of the Kurt Weill Foundation. Since that time, he has released two more albums on the Nonesuch label. These albums feature the works of Bartok, Janacek, Kodaly, and Prokofiev. Jerry Grossman has held positions in the New York Philharmonic, the Chicago Symphony and Lyric Opera of Chicago. He is currently the principal cellist of the Metropolitan Opera Orchestra in New York. During the 1995 season, he appeared in concerts with this orchestra and James Levine as featured soloist of Richard Strauss’ Don Quixote. This work along with the Death and Transfiguration was recorded and released in 1996 by Deutsche Grammophon.

- 21 - DAVID HAYES David Hayes is a conductor with an unusually broad range of repertory, spanning the symphonic, oratorio and operatic genres. He is currently music director of The Philadelphia Singers as well as serving on the conducting staff of The Philadelphia Orchestra having been appointed during Wolfgang Sawallisch’s tenure as music director. Mr. Hayes is also the Director of Orchestral and Conducting Studies for the Mannes College of Music in New York City and Staff Conductor of the Curtis Symphony Orchestra. He has also served as cover conductor for the New York Philharmonic and for Sir Andre Previn on the Curtis Symphony Orchestra’s 1999 European Tour. Upcoming engagements for Mr. Hayes’ 05-06 season (in addition to his duties with The Philadelphia Orchestra, The Philadelphia Singers and the Mannes Orchestra) include a return to the Curtis Opera Theatre for performances of Britten’s Albert Herring and serving as dean of the faculty for Chorus America’s National Choral/Orchestral Conducting Workshop to be held in Philadelphia during May 2006. Highlights of Mr. Hayes’ 04-05 Season included several non-subscription concerts with The Philadelphia Orchestra, a rare performance of John Adams’ The Death of Klinghoffer with the Curtis Opera Theatre, and subscription concerts with both The Philadelphia Singers and the Mannes Orchestra in Alice Tully Hall. During the 2003-2004 season, Mr. Hayes made both his Alice Tully Hall debut with the Mannes Orchestra (conducting works of Mahler, Strauss and Beethoven) and his Carnegie Hall debut (conducting the Mannes Orchestra and The Philadelphia Singers Chorale in Berlioz’s Requiem). In addition to his duties with The Philadelphia Orchestra and performances with the Mannes Orchestra and The Philadelphia Singers, Mr. Hayes conducted Britten’s Rape of Lucretia for the Curtis Opera Theatre in May 2004 as well as a return to the Berkshire Choral Festival for performances of Dvorak’s Requiem. The highlight of Mr. Hayes’ 2002-2003 season was his subscription debut with The Philadelphia Orchestra. At the request of Wolfgang Sawallisch, he conducted three performances of Brahms’ Schicksalslied. Mr. Hayes shared the podium with Maestro Sawallisch for the final subscription performances of the Maestro’s farewell season with the Philadelphia Orchestra in Verizon Hall. In past seasons he has appeared with the Chamber Orchestra of Philadelphia, the Lancaster (PA) Symphony, the Louisiana Philharmonic, the American Repertory Ballet, the Rutgers Orchestra, and the Mendelssohn Choir of Pittsburgh. In 1999, Mr. Hayes made his debut at the Verbier Festival in Switzerland conducting Respighi’s Trittico Boticelliano and MacMillan’s Veni, Veni, Emmanuel, with the Curtis Symphony Orchestra and percussionist Evelyn Glennie. He has conducted the Los Angeles Master Chorale and Sinfonia Orchestra at the Dorothy Chandler Pavilion in the Los Angeles Music Center. In Philadelphia, he has regularly appeared with The Chamber Orchestra of Philadelphia, the Curtis Opera Theatre and the Relâche Ensemble. With The Philadelphia Singers, Mr. Hayes has conducted numerous critically acclaimed performances including: the Philadelphia premieres of Sir Michael Tippett’s A Child of Our Time and Rossini’s Il viaggio a Reims (a work he first conducted with the Warsaw Philharmonic Orchestra in Prague), Mendelssohn’s Elijah, Berlioz’s Requiem,

- 22 - Brahms’ Ein deutsches Requiem, Handel’s Messiah, Israel in Egypt and Solomon, all of the major choral works of J. S. Bach, Beethoven’s Mass in C Major and Missa Solemnis, Orff’s Carmina Burana, Stravinsky’s Les Noces, Mozart’s Requiem and Mass in c minor. He has conducted world premieres of Laderman’s Brotherly Love, Robert Capanna’s Day and several works written by Jennifer Higdon for The Philadelphia Singers. Mr. Hayes also worked closely with Sir James MacMillan on the U. S. premiere of his large-scale choral work, Quickening. A native of the Boston area, Mr. Hayes studied conducting with Charles Bruck at the Pierre Monteux School and with Otto-Werner Mueller at Philadelphia’s Curtis Institute of Music. He served as Assistant Conductor of The Philadelphia Singers from 1989-1992 and of the Opera Company of Philadelphia during the same period. In 1992, he was appointed Music Director of The Philadelphia Singers. Mr. Hayes is a member of the Board of Directors of Chorus America (the national service organization for the choral arts).

DONALD HUNSBERGER is conductor emeritus of the Eastman Wind Ensemble, having served as its music director from 1965 to 2002. He also holds the title professor emeritus of conducting and ensembles at Eastman, where he served for many years as chair of the conducting and ensembles department. Under his leadership, the Eastman Wind Ensemble continued its development as an international performance model in the creation of numerous new works for the wind band, providing a prime example of contemporary performance techniques as demonstrated on numerous recordings on Sony Classics, CBS Masterworks, Mercury Records, DGG Records, Philips, and Decca among others. In 1987 his scores and recording of Carnaval featuring Wynton Marsalis with the Eastman Wind Ensemble were nominated for a Grammy Award in the Best Solo Performance with Orchestra category. His most recent recording project with the EWE is a three-CD set (The Eastman Wind Ensemble at 50-DHWL 001CD-WBP) celebrating its 50th anniversary. Under Hunsberger’s direction the EWE performed on six tours of Japan and Taiwan between 1990 and 2000, and one throughout Japan and Southeast Asia in 1978 for the Kambara Agency and the U.S. State Department. In addition to performing over 100 premiere performances, Hunsberger had been involved in writing projects including the books The Wind Ensemble and Its Repertoire (Warner Bros. Pub.), The Art of Conducting (with Roy Ernst, Random House), The Emory Remington Warmup Studies (Accura Music), and numerous articles published in educational journals. He has been recognized in publications for his innovative scoring techniques for varying instrumentations of the contemporary wind band. His research into the history and development of scoring for wind bands in America has led to numerous articles in WindWorks, a journal for wind conductors, performers and composers. He has been the recipient of a number of awards for research (Homespun America: The National Association for State and Local Historians), pedagogy (the Eastman Alumni Teaching Award and Herbert Eisenhart Award; Wiley Housewright Fellow, Florida State University), and performance (the Crystal Award from the Asahi Broadcasting Company, Osaka, Japan; the Ehud Eziel Award, Jerusalem, Israel). He is a past president of the College Band Directors National Association and has

- 23 - served as a member of the boards of CBDNA, the World Association of Symphonic Bands and Ensembles, and the Conductors Guild. In the orchestral world Hunsberger has created and conducted performances of orchestral accompaniments to over 18 silent films with 50 orchestras including the National, San Francisco, Houston, Vancouver, Utah, Virginia, San Diego, Syracuse and North Carolina Symphony Orchestras, and the Rochester, Buffalo, and Calgary Philharmonic Orchestras among others.

MICHAEL JINBO is in his 15th season as Music Director and Conductor of the Nittany Valley Symphony. He is also the Music Director of The Pierre Monteux School for Conductors and Orchestra Musicians, with whom he has enjoyed a long affiliation. Michael Jinbo is the third music director in the school's 57-year history, following his mentor Charles Bruck and the school’s founder, eminent French- American conductor Pierre Monteux. Serving as the school’s master teacher, Mr. Jinbo directs an orchestra comprised of musicians from around the world and teaches a class of 20-25 conductors each summer. For four seasons, he served as the Assistant Conductor of the North Carolina Symphony, a full- time professional orchestra with whom he performed 60-75 concerts each season, including classical, ballet, pops and educational programs. He has performed with a wide range of artists, including pianist Garrick Ohlsson, violinist Kyoko Takezawa, prima ballerina assoluta Galina Mezentseva and the St. Petersburg Ballet of Russia, and the legendary Cab Calloway. Mr. Jinbo received a B.A. in Music from The University of Chicago, specializing in the areas of music history and musicology, and an M.M. in Conducting from the Northwestern University School of Music, where he was the winner of the Honors Conducting Competition and selected for induction in the national honorary music society, Pi Kappa Lambda. He received further conducting training at the Pierre Monteux School (Hancock, Maine), the Herbert Blomstedt Institute (Loma Linda, California), the Scotia Festival of Music (Halifax, Nova Scotia), and at workshops of the American Symphony Orchestra League and the Conductors Guild. His former teachers include Charles Bruck, Herbert Blomstedt, Sergiu Comissiona, Gunther Schuller, Daniel Lewis, Alexander Schneider, Max Rudolf and Ralph Shapey. In 1991, Mr. Jinbo was selected by the Conductors Guild as a nominee for their bien- nial Thelma A. Robinson Conducting Award. Michael Jinbo made his European debut in August of 1999, appearing as guest conductor with the Sinfonieorchester Basel in three concerts in Switzerland and Germany. In April 1999, he appeared as guest conductor in the Quebec Festival of Youth Orchestras, conducting a combined festival orchestra of over 100 musicians. Previous guest engagements also include two programs with the Altoona Symphony, a series of concerts with the Dayton Philharmonic, and a recent appearance as guest conductor of the Erie Philharmonic Orchestra and Chorus in their season finale, A Night at the Opera. In January 2000, Michael Jinbo participated in the Annual Conference and 25th Anniversary Celebration of the Conductors Guild in New York City, where he served as a guest speaker in a session entitled “The Education of Conductors.” Mr. Jinbo has served twice as a member of the instrumental music panel of the Pennsylvania Council on the Arts. He is also a violinist, and has appeared as soloist with the Honolulu Symphony Orchestra, among others. Born in Honolulu, Hawaii, he currently resides in New York City.

- 24 - TONU KALAM, born of Estonian parents, has lived in the United States since the age of two. He was trained as a conductor, pianist and composer at Harvard University, the University of California at Berkeley, and the Curtis Institute of Music, his major teachers having been conductor Max Rudolf and composers Leon Kirchner and Andrew Imbrie. His summer credits include fellowships at Tanglewood and Aspen as well as many years at Marlboro, where he conducted the Beethoven Choral Fantasy on five occasions at the invitation of legendary pianist Rudolf Serkin. He has guest conducted the North Carolina Symphony, the Madison Symphony Orchestra, the Huntsville Symphony Orchestra, the Shreveport Symphony Orchestra, the ProMusica Chamber Orchestra of Columbus, the Baton Rouge Symphony Orchestra and the East Texas Symphony Orchestra, among others, and has served as Music Director of the New England Chamber Orchestra in Boston. He was a prizewinner in the first Baltimore Symphony Orchestra Young Conductor’s Competition, and was also a finalist in the prestigious Exxon/Arts Endowment Conductors Program. In 1994 Mr. Kalam made his European debut conducting the Estonian National Symphony Orchestra in Tallinn, and he was immediately reengaged for festival appearances the following year. He returned to Europe in 1997 to guest conduct Finland’s Oulu Symphony Orchestra and in 2004 he made his fourth Estonian appearance in the “Tubin and His Time” festival. Tonu Kalam has conducted over 130 opera performances for companies such as the Shreveport Opera, the Lake George Opera Festival and the Nevada Opera Company. For seven years he was Music Director of the Illinois Opera Theatre at the University of Illinois, and he has also filled short-term appointments as Visiting Associate Professor and director of the orchestra programs at the University of Miami in Florida and St. Olaf College in Minnesota. As an educator, he has guest conducted all-state, all-region and all-county orchestras in New York, North Carolina, Texas and Montana. In 1984 Mr. Kalam began a long-term association with the renowned Kneisel Hall summer chamber music festival in Blue Hill, Maine, where he spent thirteen years in various administrative and musical capacities, as Executive Director, Summer Program Director, Artist-Faculty pianist and chamber music coach. He continues to perform regularly as a pianist and chamber musician in addition to his conducting activities. Presently he is a Professor of Music at the University of North Carolina at Chapel Hill, serving as Music Director and Conductor of the UNC Symphony Orchestra. Since 1988 Mr. Kalam has concurrently held the position of Music Director and Conductor of the Longview Symphony Orchestra in Texas, where he commutes for several concerts each season, and in 1999 he founded the Chapel Hill Chamber Orchestra, a 12-member professional string ensemble. He also currently holds the position of President of the Conductors Guild, an international service organization devoted to the advancement of the art of conducting and to serving the artistic and professional needs of conductors.

- 25 - HIROYASU KANAMORI has been the Principal of the Tokyo Kosei Wind Orchestra since December 2001. As the head of Kosei Cultural Society, he is in charge of the whole range of cultural work in Buddhist organization--- Rissho Kosei-kai. Tokyo Kosei Wind Orchestra appeared on the stage of Midwest Clinic in Chicago as a guest performer in December 2002. It was the last oppotunity to play together with Conductor Laureate--Maestro Frederick Fennell.

GILBERT KAPLAN is a leading authority on Gustav Mahler. He is the author and editor of the award-winning The Mahler Album, an illustrated biography. His extensive writings on Mahler have appeared in publications ranging from London’s musicological journal, The Musical Times, to The New York Times. On radio he has served as the host of a 13-week Mahler series broadcast in the United States and currently hosts “Mad About Music,” a celebrity classical music and interview show. A member of the faculty of The Juilliard School (Evening Division), Mr. Kaplan has also lectured widely – at Oxford and Harvard Universities and at leading conservatories including the Royal Academy of Music and the Universität für Musik und Darstellende Kunst Wien. He is a recipient of many honors including an honorary degree of Doctor of Humanities from Westminster Choir College of Princeton, New Jersey. As a conductor, Gilbert Kaplan is widely considered one of the foremost interpreters of Mahler’s Second Symphony (“Resurrection”). He has led more than 50 orchestras including the Vienna Philharmonic, London Symphony, Deutsche Oper Berlin, Orchestra of Bayerische Staatsoper, NDR Symphony Orchestra, New Japan Philharmonic, Kirov Opera Orchestra, St. Petersburg Philharmonic, Philharmonic Orchestra of La Scala, Los Angeles Philharmonic, Prague Symphony, Royal Stockholm Philharmonic, and China National Symphony (the premiere of Mahler’s Second Symphony in China). In 1996, Mr. Kaplan led the opening night concert at the Salzburg Festival with the Philharmonia Orchestra and the Chorus of Wiener Staatsoper in a performance, which Time magazine reported was “a tri- umph that shook the Grosses Festspielhaus to its granite foundations.” With sales in excess of 180,000 copies, Mr. Kaplan’s recording of Mahler’s Second Symphony with the London Symphony Orchestra is the best-selling Mahler recording in history. It was selected as one of the Records of the Year by The New York Times, and immediately appeared on the best-seller list in the United States and England, where it remained for almost two years reaching the number one position. His recording of the Adagietto movement of Mahler’s Fifth Symphony, also with the London Symphony Orchestra, was selected as one of the Records of the Year by The Sunday Times (London).

- 26 - For the past twenty years, The Kaplan Foundation has been a leader in Mahler research, publications and historical recordings. It has published facsimile editions of the Second Symphony and the Adagietto movement of the Fifth Symphony, Mahler Discography, and The Correct Movement Order in Mahler’s Sixth Symphony. The Foundation produced “Mahler Plays Mahler,” a recording of rare piano rolls Mahler made of his own compositions in 1905. These rolls are the only documents that exist of Mahler as a performer. This recording was awarded the Preis der deutschen Schallplattenkritik in the Historic Category (first quarter 1994) and the “Toblacher Komponierhäuschen” Gustav Mahler Record Prize in the Historic Category in 1995. The Foundation’s most ambitious undertaking to date has been a New Critical Edition of the Second Symphony. Research for the new edition has been underway for the past four years under the direction of co-editors Renate Stark-Voit and Gilbert Kaplan with the oversight of Reinhold Kubik, Chief Editor of the Complete Critical Edition of Mahler. The new edition will be published jointly by Universal Edition and The Kaplan Foundation later this year. The first concert performance of the new edition took place on October 18 at the Royal Albert Hall in London when Mr. Kaplan led the Royal Philharmonic Orchestra. The edition has also appeared on a recording of the work by the Vienna Philharmonic led by Mr. Kaplan on the Deutsche Grammophon label which received the 2004 Surround Music Award for Best Mix: Orchestral. Mr. Kaplan is a recipient of many honors including an honorary degree of Doctor of Humanities from Westminster Choir College of Princeton, New Jersey and the George Eastman Medal for Distinguished Musical Achievement from the Eastman School of Music of Rochester, New York. He serves on the boards of Carnegie Hall; the South Bank Centre (Royal Festival Hall, London); and the Visiting Committee to the Department of Music at Harvard University.

For more than forty years, JOEL LAZAR has been responsible for first performances, along with American and regional premieres, of major works by composers as diverse as Bruckner, Mahler, Nielsen, Honegger, Holst, Ullman, Toch, Piston, Maw, Harbison and Schuller. Since the mid- 1980s he has been based near Washington DC, conducting contemporary music, opera and symphonic programs throughout the United States. Acclaimed by the Washington Post as “…one of Washington’s premier conductors of both old and new music…”, Joel Lazar has been Music Director of the JCC Symphony Orchestra [Rockville, MD] since 1988, conducted the Theater Chamber Players in engagements at the Kennedy Center, the Library of Congress and on tour from 1986 to 2003, and has appeared as guest conductor with many orchestras and contemporary music ensembles in the Washington area. During the 1990s, he was Music Director of Alexandria-based Opera Americana, and Principal Conductor of Opera In The Chapel, the resident professional company at Mount Vernon College. He was a cover conductor for the National Symphony Orchestra from 1997 to 2001, sharing the stage with Music Director Leonard Slatkin in critically praised and enthusiastically received performances of Ives’ Fourth Symphony in April 2001. A native New Yorker, he received undergraduate and graduate degrees in music from Harvard University, where he studied with Pierre Boulez, Walter Piston and Randall

- 27 - Thompson. In conductors' courses at Aspen and Tanglewood he worked with Izler Solomon, Richard Burgin and Erich Leinsdorf and at the Shenandoah Festival, with Richard Lert and Lawrence Leighton Smith. In the 1960s and early 1970s, he taught and conducted at Harvard, at New York University and at the University of Virginia. More recently, he gave a series of lectures on the history of the string quartet for Smithsonian Associates from in spring 2004, and led a graduate seminar in the music of Beethoven as guest lecturer at the University of Maryland during the fall semester, 2004. In 1969 Joel Lazar was elected to honorary membership in the Bruckner Society of America. Through colleagues in the Society he met the legendary Jascha Horenstein, master interpreter of Mahler and Bruckner and, in 1971, received a fellowship enabling him to spend two years overseas as Horenstein’s personal assistant, the only young conductor ever to serve in this capacity. After Horenstein's death, he acted as his mentor’s artistic executor, inheriting his extensive music library and completing his recording of Carl Nielsen’s opera, Saul and David, with an international cast including Boris Christoff. He contributed a major retrospective article on Horenstein’s life and work to Gramophone Magazine, and has written insert notes for the BBC Legends series of Horenstein broadcast performances released on compact disk, for Vox Records’CD reissues of Horenstein recordings from the 1950s and for archival releases on the Music and Art label. He has lectured on Horenstein’s recorded legacy, first in January 2000 to the Gustav Mahler Society of New York and in July 2003, at the internationally-acclaimed Gustav Mahler Musikwochen, Toblach/Dobbiaco as the first in their series of major presentations related to Mahler’s interpreters. Music Director of the Tulsa Philharmonic from 1980 to 1983, Joel Lazar has also appeared with the orchestras of San Antonio, Louisville, Pasadena, Oklahoma City, Richmond, Harrisburg, Wheeling and Johnstown, with Sarah Caldwell’s Opera Company of Boston, and was Music Director of the Richmond Philharmonic from 1990 to 1992 following a season as Principal Guest Conductor. During a period of European residence he conducted the BBC Philharmonic, the Danish National Orchestra, the Tivoli Orchestra and the Scottish Baroque Ensemble in concerts, broadcasts and recordings Highlights of Joel Lazar’s recent concerts include premieres of major works by outstanding Washington composers Robert Parris and Frances Thompson McKay, the first American performance of Michal Vích's Opera La Serra, Lukas Foss’s Time Cycle at the Holocaust Museum, anniversary presentations of Schoenberg’s Suite, Op. 29 and Pierrot Lunaire, as well as a concert with the Woodley Ensemble featuring Bernstein’s Chichester Psalms, a revival of Arnold Saltzman’s First Symphony in Washington, and a concert in Bavaria with the orchestra of the Collegium Musicum, Schloss Pommersfelden in the summer of 2002, including the Third Symphony of Anton Bruckner. In Washington, he conducted George Crumb’s Ancient Voices of Children in the composer’s presence, returned to the Holocaust Museum to narrate Schoenberg’s Ode to Napoleon and gave the premiere of Arnold Saltzman’s Third Symphony. Joel Lazar has enjoyed successful collaborations with many of the leading artists of our time, among them pianists Leon Fleisher, André Watts, Lorin Hollander, Garrick Ohlsson, Gary Graffman, Malcolm Frager, and Charles Rosen, violinists Shlomo Mintz, Cho-Liang Lin, Jaime Laredo, Timothy Fain, Elisabeth Adkins, Ricardo Cyncynates and Elmar Oliveira, violists Donald McInnes and Nokuthula Ngwenyama, 'cellists Leonard Rose, Evelyn Elsing, Stephen Honigberg and Stephen Kates, hornists Barry Tuckwell and Robert Routch, bassoonists David McGill and Lynn Gaubatz, oboists Ray Still, Rudolph Vrbsky and Sara Watkins Shirley-Quirk, clarinettist Alex Fiterstein, singers Phyllis Bryn- Julson, Roberta Peters, Christophoren Nomura, Jeannette Walters, Maureen Forrester, Irene

- 28 - Gubrud, Ben Holt, Marvis Martin and Charles Williams, along with members of the National Symphony Orchestra, the New York Philharmonic, the Metropolitan Opera Orchestra, the Cleveland Orchestra, the Chicago Symphony and the Washington Opera.

LORIN MAAZEL became Music Director of the New York Philharmonic in September 2002. Over the years he has led more than 150 orchestras in more than 5,000 opera and concert performances, and conducted the Philharmonic more than 100 times prior to his current appointment. Mr. Maazel most recently served as music director of the Symphony Orchestra of the Bavarian Radio (1993 until summer 2002). He has held positions as music director of the Pittsburgh Symphony (1988-96); general manager and chief conductor of the Vienna State Opera (1982-84) – the first American to hold that position; music director of The Cleveland Orchestra (1972-82), appearing with the orchestra in some 700 performances and seven international tours; and artistic director and chief conductor of the Deutsche Oper Berlin (1965-71). He was named honorary member of the Israel Philharmonic in 1985 when he conducted its 40th anniversary concert. He is also Honorary Member of the Vienna Philharmonic and is the recipient of the Hans von Bulow Silver Medal from the Berlin Philharmonic. A second-generation American, born in 1930 in Paris, Mr. Maazel was raised and educated in the United States. He took his first violin lesson at age five, and conducting lesson at age seven. He studied with Vladimir Bakaleinikoff and appeared publicly for the first time at age eight, leading a university orchestra. He was invited by Arturo Toscanini to conduct the NBC Symphony in 1941 at age 11, and made his New York debut at the New York World's Fair at age 9, conducting the Interlochen Orchestra. That same year, 1939, he conducted the Los Angeles Philharmonic in the Hollywood Bowl, sharing a program with Leopold Stokowski. He made his New York Philharmonic conducting debut on August 5, 1942 at Lewisohn Stadium, the former summer venue of the Orchestra. Between ages 9 and 15, he conducted most of the major American orchestras. At 17 he entered the University of Pittsburgh to study languages, mathematics, and philosophy. While a student, he was a violinist with the Pittsburgh Symphony and served as apprentice conductor during the 1949–1950 season. In 1951, he won a Fulbright Fellowship to Italy, and two years later made his European conducting debut in Catania, Italy. He appeared at Bayreuth in 1960 (the first American to do so), with the Boston Symphony in 1961, and in Salzburg in 1963. Since then, he has conducted throughout Europe, Australia, North and South America, Japan, and the former Soviet Union. Maestro Maazel’s extensive discography includes recordings with The Cleveland Orchestra, Vienna Philharmonic, Pittsburgh Symphony, Berlin Philharmonic, and Bavarian Radio Orchestra. His interpretations of Prokofiev’s Romeo and Juliet and Gershwin’s Porgy and Bess with The Cleveland Orchestra were the first complete recordings of these works. He is the recipient of 10 Grand Prix du Disque Awards. As a violinist, Lorin Maazel has appeared as soloist with numerous orchestras. Also an accomplished composer, his works include The Empty Pot, for boy soprano, children's chorus, orchestra, and narrator; Farewells, commissioned and performed by the Vienna Philharmonic; and Irish Vapours and Capers, premiered by the Pittsburgh Symphony in 1994. He is currently composing an opera based on George Orwell’s 1984.

- 29 - His honors, decorations, and awards include the Commander’s Cross of Merit of the Federal Republic of Germany, the Legion of Honor of France, and the Commander of the Lion of Finland. Learn more about Lorin Maazel by visiting his personal website at www.maestromaazel.com.

TORU MIURA is the Solo Euphoniumist with the Tokyo Kosei Wind Orchestra. He is also a lecturer of euphonium and brass ensemble at the Kunitachi College of Music, the Sobi Music Academy, the Soai University, the Toho Gakuen College and the Shobi-gakuen. He directs the Tokyo Bari- Tuba Ensemble and the Euphonium-Company as their founder. Mr. Miura was a performing artist and a clinician at the 2nd ITEC in 1983, the 2nd IBC in 1984, the 3rd ITEC in 1986, the 4th ITEC in 1990, the 5th ITEC in 1992 and the 6th ITEC in 1995 and the IBC of the Summit Brass in 1996 and the Verso il Millenio in 1997 and the 7th ITEC in 1998 and the 2nd Tubamania in 1999. Other appearances out side of Japan also include solo performances and clinic in Hong-Kong, Indonesia, Taiwan, Hawaii, Singapore, Australia, Korea and China. Solo recordings for SONY include “Invitation to Playing Trombone and Euphonium” etc., and a solo CD for DENON has been released. His Euphonium Methodes and solo books are published from Doremi Music Company and Ongaku-no-Tomosha. He is also active as a writer about for various- profes- sional magazines, including the Band Journal and the Pipers. Miura was born in Osaka, Japan in 1948. In 1971, he earned the B.M.degree with honor of the Ataka Award from the Tokyo National University of Fine Arts and Music where he studied under Kiyoshi Ohishi, the Distinguished President of Japan Euphonium Tuba Association. In 1973, Miura graduated from the University of Southern Mississippi with the M.M. degree, where he studied with Raymond Young . From 1973-74, he attended the Eastman School of Music and performed in the Eastman Wind Ensemble under conducting of Dr. Donald Hunsberger. He had served as the Euphonium Coordinator and the Vice President for International Relationship of T.U.B.A.. At the present time, he serves as a member of board of directors for International Tuba Euphonium Association (T.U.B.A.).

CRAIG MUMM is in his 23rd season as associate principal violist of the Metropolitan Opera Orchestra. Mr. Mumm began his career in the Milwaukee Symphony Orchestra and went on to become the assistant principal violist of the Lyric Opera Orchestra of Chicago and also the Grant Park Symphony Orchestra. He grew up in Chicago and Milwaukee, where his musical studies began with his father, Edward Mumm, former concertmaster and assistant conductor of the Milwaukee Symphony Orchestra. Mr. Mumm earned his Bachelor of Music Performance degree from Northern Illinois University as a performance scholarship student of Shmuel Ashkenasi of the Vermeer Quartet. He continued his musical studies in Switzerland with Zino Francescati, and while in Europe, played with the Folkwang Chamber Orchestra in Essen, Germany. Mr. Mumm is a regular performer with James Levine on the MET Chamber Ensemble Weill Hall Concert series and was also an artist-in-residence faculty member at

- 30 - the Hartwick College Summer Music Festival for 7 years. He is a frequent competition adjudicator, symposium and master class clinician for the American String Teachers Association, NJMEA and many other educational grant projects throughout the NY tri-state area. In addition to his orchestral work, Mr. Mumm maintains an active career as private teacher, soloist, chamber and recording musician.

THOMAS OTTEN, a California native born of German- American parents, has been hailed by the New York Times as “an extremely original player who puts a formidable technique at the service of his ideas.” He has appeared in recital and as orchestral soloist in such venues as the Kennedy Center, Lincoln Center, Carnegie Hall, the National Press Club, the German Embassy, and the Chautauqua and Brevard Summer Festivals; he has also performed at Severance Hall with the Miami String Quartet. His performances have been broadcast on both coasts, including WQXR New York, WGMS Washington, and KUSC Los Angeles. He has concertized in Germany numerous times, including a television performance and a debut at the Gasteig in Munich. Dr. Otten has been the recipient of numerous national and international prizes, including first prize in the Joanna Hodges International Piano Competition, the Palm Beach Invitational International Piano Competition, the International Masters Piano Competition, and the USIA Artistic Ambassador Competition. As a result of the latter, he represented the U.S. in a three-week concert tour of the Caribbean. From 1991 to 1998, Dr. Otten was a member of the California Arts Council’s prestigious Touring Artist Roster, performing recitals and giving residencies throughout the state. This led to his expertise in the area of self-management/marketing, and the exploration of highly diverse repertoire, including jazz and ragtime. A student of master teachers John Perry and Nelita True, Dr. Otten holds performance degrees from the University of Southern California (DMA, MM) and the University of Maryland, College Park (BM, summa cum laude). He twice received USC’s Podolsky Prize, awarded annually to the outstanding keyboard performer. Dr. Otten has also studied collaborative performance with Gwendolyn Koldofsky and Martin Katz. Dr. Otten currently chairs the piano division at the University of North Carolina - Chapel Hill. From 1997-2002, he headed the piano area at Kent State University in Ohio, where he was also co-founder of the Kent Piano Seminar. He has also been on the piano faculties of Chapman University in Orange, California; California State University, Sacramento; Occidental College in Los Angeles; and the Kent/Blossom Music Festival. His students have been prizewinners in competitions throughout the U.S. and abroad. Dr. Otten is in demand as a performer and clinician, giving recitals, master classes, and workshops throughout the U.S. In 2004-2005, he will perform in North Carolina, Virginia, Washington, D.C., New Jersey, Kentucky, Nebraska and California. Highlights include performances of the Schumann Piano Quintet with the Vega String Quartet, and a performance at the National Convention of the American Liszt Society. Dr. Otten’s first CD, featuring the transcriptions of Franz Liszt, is also scheduled for release this season.

- 31 - MICHAEL SHAPIRO is active as a conductor, composer, pianist, author, and lecturer. Mr. Shapiro has appeared internationally as a conductor and pianist for over twenty years most prominently including appearances in Berlin, Germany, over the Sender Freies Berlin radio network and at Humboldt University, Siena, Italy, at the Accademia Chigiana, Zurich Opera Theater, Switzerland, Shawnigan Lake Youth Symphony, Victoria, Canada, and in the United States in Minneapolis, Boston, Washington, D.C., and New York. He served for two years as a music consultant to the United States Holocaust Memorial Museum in Washington, D.C. promoting and performing the music of composers who were persecuted during the Shoah. Michael Shapiro has been Music Director and Conductor of The Chappaqua Orchestra since 2002. Mr. Shapiro’s music has been characterized by the New York Times as “possess- ing a rare melodic gift.” His compositions include over 100 art songs, the opera The Love of Don Perlimplin and Belisa in the Garden based on Federico Garcia Lorca’s play (premiered by the Opera Theatre of Northern Virginia, Washington, D.C.), Symphony Pomes Penyeach, solo and double concerti for guitar, violin, and violoncello, chamber music including several sonatas for violin, piano, and clarinet, Yiddish Quartet (premiered by the Hawthorne String Quartet of the Boston Symphony Orchestra), Eliahu Hanavi Variations for solo violoncello (recorded by BSO Associate Principal cellist Sato Knudsen on NAXOS Records), choral works, and a new film score to the 1931 movie Frankenstein, directed by James Whale and starring Boris Karloff (premiered at the Film Society of Lincoln Center’s Jacob Burns Theater). His best-selling books on Jewish history and culture (The Jewish 100 and Jewish Pride) are published in seven language editions including Japanese. Pieces on his books have been featured in The New Yorker, The Daily News, Washington Post, Detroit Free Press, San Francisco Chronicle, The Independent (London), Ha’Aretz (Israel), and in the broadcast media on National Public Radio and CBS-TV. Mr. Shapiro studied conducting with Carl Bamberger at the Mannes School, and with Harold Faberman. Principal composition teachers included Elie Siegmeister, Vincent Persichetti, and Sir Malcolm Arnold. Michael Shapiro also studied solfege and score reading with Renee Longy. He holds an M.M. degree from The Juilliard School where he was a Juilliard Scholar. In addition to his activities as a conductor, pianist, and composer, Mr. Shapiro has been active as a radio journalist and conducted a noteworthy series of broadcast interviews with renowned musicians including Pierre Boulez, Elliott Carter, David Diamond, Peter Mennin, and Beveridge Webster.

- 32 - Broadcaster, writer, teacher and radio personality, ROBERT SHERMAN is probably best known for his work at WQXR, where he has been Program Director, Executive Producer and (currently) Senior Consultant. For twenty-three years he presided in The Listening Room, and he continues to present The McGraw-Hill Companies’ Young Artists Showcase. He has also hosted since their inception the Avery Fisher Career Grant Award presentations and the annual Martin Luther King Jr. Birthday spe- cials from the Harlem School of the Arts. A member of the faculties of both the Juilliard and Manhattan Schools, Robert Sherman has also presented seminars at Yale, the Eastman School, the Harid Conservatory and Mannes College of Music, where he serves on the Board of Directors. A former music critic for The New York Times, Sherman continues to write music columns for the Westchester and Connecticut sections for the paper. He has published two books with Victor Borge, is the co-author of The Complete Idiot’s Guide to Classical Music, and with his brother, Alexander Sherman, has compiled a pictorial biography of their mother, the renowned pianist Nadia Reisenberg. He is on the advisory boards of many major cultural organizations. In addition he serves them variously as pre-concert lecturer, competition judge, panel moderator and fund-raising emcee. Increasingly active as a concert narrator, Robert Sherman has performed with such ensembles as Canadian Brass, the U.S. Military Academy (West Point) Band, Hudson Valley Philharmonic and Philharmonia Virtuosi; among his appearances are the world premieres of works written especially for him by Seymour Barab, William Mayer, Issachar Miron and Soong Fu Yuan.

ROBERT SIMON has led the Piedmont Wind Symphony since founding the group in 1990. As the symphony’s Artistic Director, Simon strives constantly to raise the group’s standards, recruit new members, choose challeng- ing repertoire, expand the audience and lure outstanding guest artists to perform. He believes that inspiration to perform at higher levels of excellence comes from prominent guest artists. The symphony has hosted such guests as jazz saxophonist Ernie Watts, James Houlik, James Ketch, conductor Frederick Fennell, composer/conductor Alfred Reed, and jazz legend Maynard Ferguson. Arturo Sandoval performed with the ensemble in 2001 and again in 2004. Paul Anka was the guest artist in 2003, and on May 11, 2005, the Piedmont Wind Symphony hosted legendary jazz singer Diane Schuur. Non-performing guests have included composers Aldo Forte and Dr. Roger Hannay, a noted composer and professor emeritus at UNC Chapel Hill. A Piedmont Celebration (2000) was commissioned from Forte to commemorate the PWS’ 10th anniversary (World premiere on November 2, 2000). Hannay was in the audience for the May 4, 1999 premiere of his Symphony for Band (1963) in its first printed version, the Edition Robert Simon, available in rental from Ludwig Music, Cleveland.

- 33 - Simon studied music education and tuba at UNC Chapel Hill. He contemplated a career in music education at the college level before deciding to enter the jewelry industry. He was a concerto winner at UNC and also received a University grant to do research in Australia on composer Percy Grainger, resulting in his first book, Percy Grainger: the Pictorial Biography (available through GIA Music Publications). While in Australia, Simon studied conducting of Grainger scores with John Hopkins, conductor of the Melbourne Symphony Orchestra. He has done biographical research for Arturo Sandoval and has recently completed the book Fennell: A Tribute to the Career of Frederick Fennell, available from GIA Music Publications, Chicago. Simon is the President of Windsor Jewelers and serves on an endowment committee at UNC-Chapel Hill. He lives in Clemmons with his wife Sarah, and their three sons.

THOMAS SLATTERY is a graduate of the Eastman School and holds M.A. and Ph.D. degrees from the University of Iowa. He taught four years in the Iowa public schools and from 1966-1979 was a member of the faculty, full professor and Music Department Chairman at Coe College in Cedar Rapids, Iowa. Mr. Slattery is the author of a biography of the Australian/American musician, Percy Grainger, and has contributed to numerous scholarly publications which include The Dictionary of American Biography. He was a member of the Eastman Wind Ensemble from 1954-1958 and the 7th Army Symphony Orchestra from 1959-1961. Since 1979, Mr. Slattery has been involved in the commercial real estate industry as an investor, developer and broker. He is the former President and principal stockholder of Heritage Associates Corporation, Haweye Escrow Company, Centurion Properties, and managing partner of several real estate entities. Through entrepreneurial endeavors, he has built, renovated and developed numerous commercial and mulit-family buildings. Mr. Slattery has been married to Clare Lynn Durr for 41 years, the parents of two adult children. He is a board member of th Cedar Rapids Town Association, The Elmcrest Country Club (current President), a city Commissioner of the Cedar Rapids SSMID District and sits on the Board of the St. Martin Land Company, a privately held land and oil company, with office in Iowa and Louisiana. Mr. Slattery has been a Cedar Rapids resident since 1966.

- 34 - JONATHAN STERNBERG (b. 1919). After studying the violin as a child at the Institute of Musical Art (now the Juilliard School) in New York, Sternberg took an academic degree at New York University (1939), followed by studies in musicology at NYU Graduate School and Harvard. During his undergraduate years, he was active as a New York critic for the Musical Leader of Chicago; he also attended rehearsals of the National Orchestral Association conducted by Leon Barzin, from whom he acquired his conducting technique. Apart from two later private sessions with Barzin (1946) and two summers with Pierre Monteux (1946 1947), he was self taught. Sternberg began his professional career on Pearl Harbor Day, December 7, 1941, conducting the National Youth Administration Orchestra of New York in Copland’s An Outdoor Overture, before entering military service. At the end of the war he found himself in Shanghai where he took over the Shanghai Symphony Orchestra for a season. After returning briefly to the USA, Sternberg moved to Vienna, making his debut with the Vienna Symphony Orchestra In 1947. He worked closely with the Haydn scholar H.C. Robbins Landon, scouring the libraries, monasteries and churches of Austria for lost manuscripts, until Robbins Landon set up the Haydn Society, for which Sternberg made a series of pioneering recordings, initially of Haydn and Mozart, not least the “Nelson Mass”, “Posthorn” Serenade and some dozen Haydn symphonies. Other recording premieres under Sternberg included Schubert’s Second Symphony, Rossini’s Stabat mater, Prokofiev’s Fifth Piano Concerto, Milhaud’s Fantaisie Pastorale and Charles Ives’s Set of Pieces. He also began to present modem American music to European audiences that had heard little of such repertory. With the RIAS orchestra in Berlin he conducted the first European performances of a large number of American scores, including Bernstein’s Serenade, Menotti’s Violin Concerto and the Second Symphony of Charles Ives. With other orchestras, Sternberg conducted the first European performances of works by Barber, Copland, Diamond and Benjamin Lees. He was also responsible for a number of world premieres, including Rorem's First Symphony (1951) and Laszlo Lajtha’s Sixth (1961). After a year at the helm of the Halifax Symphony Orchestra (1957 1958) and five as music director of the Royal Flemish Opera in Belgium (1961 1966), he returned to the USA to take the position of music director and conductor of the Harkness Ballet of New York (1966 1968). Sternberg was then appointed musical director of the Atlanta Opera and Ballet, opening the new Atlanta Memorial Arts Center with the American stage premiere of Purcell's King Arthur. After Atlanta he took up a visiting professorship of conducting at the Eastman School of Music in Rochester, New York. On leaving he took up a similar position at Temple University, Philadelphia, where he taught and conducted for 20 years. Here, too, he conducted a number of world premieres, including Music for Chamber Orchestra by David Diamond (1976), A Lincoln Address and Night Dances by Vincent Persichetti (1977) and Stanislaw Skrowaczewski's Ricercari notturni for three saxophones and orchestra (1978). In his 80s, Sternberg is still active on the podium and as a lecturer.

- 35 - KATE TAMARKIN joined the faculty of the Catholic University of America in the fall of 2003 bringing a back- ground of over twenty years as a professional conductor and educator. She has been Music Director of the Monterey Symphony (CA), Vermont Symphony, East Texas Symphony, and the Fox Valley Symphony Orchestra (WI). She was also the Associate Conductor of the Dallas Symphony under the late Eduardo Mata. Her guest conducting credits include the Shanghai Symphony, Edmonton Symphony, National Symphony of Moldova, and the following US orchestras: Chicago, Houston, St. Louis, Phoenix, Nashville, New Mexico, Oklahoma City, Tucson, Pacific (CA), Eastern Music Festival (NC), and Chicago’s Grant Park Festival. She made her debut with the Summer Opera Theatre Company in 2004, and returned to conduct Verdi’s “Rigoletto” in 2005. Ms. Tamarkin has served as Visiting Associate Professor of Orchestral Studies at the University of Minnesota, and has been on the faculty of the South Carolina Conductor’s Institute and the Oklahoma Summer Arts Institute. Ms Tamarkin holds a Doctor of Musical Arts from the Peabody Conservatory of Music, a Masters Degree in Orchestral Conducting from Northwestern University, and a Bachelor of Music Education degree from Chapman University in California. She has been a fellow at the Tanglewood Music Festival, the Aspen Music Festival, and the Los Angeles Philharmonic Institute. Her major teachers include Frederik Prausnitz, Bernard Rubenstein, John Koshak, and Gustav Meier.

New York Philharmonic Principal Librarian LAWRENCE TARLOW got his start when, as a tubist in the Roslyn (Long Island) High School Band, he streamlined the system for handing out music at rehearsals. He attended the Juilliard School as a student of Joseph Novotny, former Principal Tuba of the New York Philharmonic, and graduated from the Curtis Institute of Music, where he was student orchestra librarian. Before joining the Philharmonic in 1985, he served as librarian of the Berkshire (now Tanglewood) Music Center Orchestra, worked for the music publishers C.F. Peters Corporation and G. Schirmer, Inc., and became the Oklahoma Symphony’s first full-time librarian in 1977. During his 1979-85 tenure as librarian of the Atlanta Symphony he also played the occasional second tuba part including a recording of the Berlioz Requiem under then-music director Robert Shaw. Citing a love of "esoterica and trivia" as one of the reasons he enjoys his job, Mr. Tarlow is an active member and former three-term President of the Major Orchestra Librarians Association. He is the father of Rachel and Henry, and his extra-Philharmonic interests include railroading, bridge and baseball.

- 36 - ANTHONY TOMMASINI is the chief classical music critic of the New York Times, an author and a pianist. Born in Brooklyn, he grew up in Long Island, graduated with a Bachelor of Arts degree from Yale University in 1970, and later earned a Master of Music degree from the Yale School of Music, and a Doctor of Musical Arts Degree from Boston University. His teachers have included the pianists Donald Currier and Leonard Shure. He has taught music at Emerson College in Boston, and given non-fiction writing workshops at Wesleyan University and Brandeis University. His interest in the work of the composer and critic Virgil Thomson cul- minated with his critically-hailed book Virgil Thomson: Composer on the Aisle, published in 1997 by W. W. Norton and Company. Among the reviews the book received was Jack Sullivan’s in the Washington Post: “…ambitious, utterly absorbing…a thoroughly original biography, detached yet inti- mate, learned yet entertaining, one that does full justice to its feisty, iconoclastic subject.” Robert Craft, in the New York Review of Books, deemed the biography “indispensable to anyone concerned with American cultural history of the period.” A “sympathetic and fully comprehending study of a formidably complex character, and by a wide margin the finest biography yet written of an American composer,” wrote Terry Teachout in Commentary. His latest book, The New York Times Essential Library: Opera, a guide to 100 important operas and recommended recordings, was released by Times Books/Henry Holt last year. As a pianist, he can be heard on two Northeastern Records compact discs of Thomson’s music, titled Portraits and Self-Portraits, and Mostly About Love: Songs and Vocal Works. Both were funded through grants Mr. Tommasini was awarded by the National Endowment for the Arts. Over the years as a journalist he has also written about theater, dance, jazz, rap, books, and AIDS. Currently he is a volunteer on the Gay and Lesbian National Hot Line in New York. He lives in Manhattan with his partner, Dr. Benjamin McCommon, a psychia- trist, and enjoys bicycling in Central Park.

MICHAEL VOTTA, JR., Music Director of the North Carolina Wind Orchestra, is Professor of Music at The University of North Carolina at Chapel Hill where he serves as Associate Chair for Applied Studies and as Director of the UNC Wind Ensemble.. Under his leadership, the wind ensemble has been praised by critics as an ensemble of “tautly drawn sharpness and attention to detail,” and has collaborated with world-renowned conductors and composers. In addition, the wind ensemble has been invited to perform at conferences of the Conductors Guild, the College Band Directors National Association and the North Carolina Music Educators Association. Votta and the ensemble formed an artistic partnership with the Prague Conservatory, leading to their residency in Prague and the formation of a Czech/American wind ensemble during the spring semester of 2003. Critics have praised him as “a conductor with the drive and ability to fully relay artistic thoughts” and for his “interpretations of definition, precision and most importantly,

- 37 - unmitigated joy.” Ensembles under his direction have received critical acclaim in the United States and Europe for their “exceptional spirit, verve and precision,” their “sterling exam- ples of innovative programming” and “the kind of artistry that is often thought to be the exclusive purview of top symphonic ensembles.” His performances have been heard in broadcasts throughout the US, on Austrian National Radio (ÖRF), and Southwest German Television, and have been released internationally on the Primavera label. Numerous major composers including George Crumb, Christopher Rouse, Karel Husa, Olly Wilson, Barbara Kolb, Warren Benson, and Louis Andriessen have praised his performances of their works. Before his appointment at UNC, Votta held conducting positions at Duke University, Ithaca College, the University of South Florida, Miami University (Ohio) and Hope College. Votta holds a Doctor of Musical Arts in Conducting degree from the Eastman School of Music where he served as Assistant Conductor of the Eastman Wind Ensemble and studied with Donald Hunsberger. A native of Michigan, Votta received his undergraduate training and Master of Music degrees from the University of Michigan, where he studied with H. Robert Reynolds. He is the author of numerous articles on wind literature and conducting. His arrangements and editions for winds have been performed and recorded by university and professional wind ensembles in the US, Europe and Japan, and have been published by Ludwig Music and Warner Brothers Music. He is Chair of the Research Committee of the College Band Directors National Association (CBDNA), a member of the board of the Conductors Guild, and has served as Editor of the CBDNA Journal, as a member of the Executive Board of the International Society for the Investigation of Wind Music (IGEB), and as a State Chairman for CBDNA. Votta maintains an active schedule as guest conductor and clinician in the US, and has appeared in Europe and Israel. He has taught conducting seminars in the US and Israel, and has guest conducted and lectured at institutions such as the Eastman School of Music, the Cincinnati College-Conservatory of Music, the Prague Conservatory and the National Arts Camp at Interlochen. He has also appeared at conferences of numerous organizations including the College Band Directors National Association, the Midwest Band and Orchestra Conference, and state music educators’ conventions in Maryland, New Jersey, New York, North Carolina, and Ohio. As a clarinetist, Votta has performed as a soloist throughout the US and Europe, and currently performs with the North Carolina Symphony. His solo and chamber music recordings are available on the Partridge and Albany labels.

With a repertoire ranging from early 17th century violin solos to the string quartets of Beethoven and Schubert, NANCY WILSON is known as one of the leading baroque violinists in the U.S. A founding member of many of American’s pioneering period instrument ensembles, including Concert Royal, the Bach Ensemble, and the Classical Quartet, she performs regularly with Aston Magna and has worked extensively with the Smithsonian Chamber Players. She has worked as concertmaster and soloist with leading conductors in early music, Jaap Schroeder, Christopher Hogwood, and Nicholas McGegan among them, regularly leads period orchestra performances in New York City and the metropolitan area, and has over 50 recordings to her credit. As concertmaster of the 1985 Boston Early music Festival 1985 she had the honor of playing on one of Bach’s own violins from the

- 38 - Thomaskirche in Leipzig, its first appearance outside of what was then the Iron Curtain. More recently she appeared as soloist with Philadelphia’s Philomel Baroque Orchestra in Vivaldi’s Four Seasons. Her solo playing has been called “clear and sweet in tone, refined in articulation” by Gramophone, “exceptionally stylish” by The Edinburgh Scotsman and “expert” by the New York Times. A native of Detroit, Ms. Wilson holds degrees from Oberlin College and The Julliard School; studied with Dorothy Delay, David Cerone, and Mischa Mischakoff; and began her studies of historical performance practice with Albert Fuller, Jaap Schroeder, and Stanley Ritchie at Aston Magna. She has been invited as guest lecturer and clinician at workshops and music schools throughout the U. S. and Europe and currently teaches at the Mannes College of Music in Manhattan, and Princeton University, where she directs the Richardson Baroque Players.

DAVID ZINMAN is in his tenth season as Music Director of the Tonhalle Orchestra Zürich, having taken up the post in 1995 after many years as a regular guest conductor there. In 1998 he completed a highly successful thirteen-year tenure as Music Director of the Baltimore Symphony Orchestra and is now Conductor Emeritus. Also in 1998, Mr. Zinman became Music Director of the Aspen Music Festival and School, where he is also Program Director of the newly formed American Academy of Conducting. Mr. Zinman’s tenures, first in Baltimore and now in Zurich, have been distinguished by his programming of an extraordinarily broad repertoire, his strong commitment to the performance of contemporary music, and his introduction of historically informed performance practice. He has toured widely with both orchestras in Europe, North America and the Far East, consistently winning critical accolades. Among his most recent tours have been those with the Tonhalle Orchestra including an eight city tour of the USA culminating in Carnegie Hall (May 2004), Germany and Spain (October 2001) and Milan (October 2000). Mr Zinman and the Tonhalle Orchestra have also performed throughout Europe in such music centres as Berlin, Vienna, Frankfurt, London, Munich and Paris. On the Arte Nova label they have released an acclaimed Beethoven cycle, Beethoven’s Missa Solemnis, Richard Strauss cycle, Robert Schumann’s symphonies and during 2004/05 they will record Beethoven’s Piano concerti and the Triple concerto. Since his American conducting debut with the Philadelphia Orchestra in 1967, David Zinman has conducted many of the world’s leading orchestras, and has served as Music Director of the Rochester Philharmonic (1974-85), Rotterdam Philharmonic (1979- 82), Netherlands Chamber Orchestra (1964-77) and Artistic Director of the Minnesota Orchestra’s Viennese Sommerfest (1994-96). He has guest-conducted all the leading North American orchestras including Boston, Chicago, Cleveland, Philadelphia and the New York Philharmonic, and makes regular guest appearances with the American festivals. His engagements elsewhere include major orchestras such as the Berlin Philharmonic, Orchestre de Paris, Deutsches Symphonie-Orchester Berlin, Royal Concertgebouw, Leipzig Gewandhaus, London Symphony, Philharmonia, London Philharmonic, BBC Symphony, Munich Philharmonic, Oslo Philharmonic, Vienna Symphony, Israel Philharmonic and NHK Tokyo. David Zinman’s extensive discography of more than 100 recordings has earned numerous international honours, including five Grammy awards, two Grand Prix du Disque, two Edison Prizes, the Deutsche Schallplattenpreis and a Gramophone Award. Mr Zinman is

- 39 - also the 1997 recipient of the prestigious Ditson Award from Columbia University, given in recognition of his exceptional commitment to the performance of works by American composers (many of which he has recorded in a series for Decca’s Argo label). Born in 1936, David Zinman graduated from Oberlin Conservatory and pursued advanced work in composition at the University of Minnesota. Conducting studies at the Boston Symphony’s Tanglewood Music Center brought him to the attention of Pierre Monteux, who guided his musical development. Mr. Monteux introduced Mr. Zinman to his first prominent conducting opportunities with the London Symphony Orchestra and at the 1963 Holland Festival, where critics hailed Mr. Zinman as a major conducting discovery. The City of Zurich Art Prize was awarded to David Zinman in October 2002 for his outstanding artistic efforts. David Zinman is the first conductor and the first recipient who is not origi- nally from Switzerland. The title of ‘Chevalier de l’Ordre des Arts et des Lettres’ has also recently been conferred on him.

RECIPIENT OF THE 2006 THEODORE THOMAS AWARD DAVID ZINMAN

The Theodore Thomas Award is presented biennially to a conductor in recognition of outstanding achievement as a conductor and extraordinary service to one’s colleagues in advancing the art and science of conducting, reflecting honor upon our profession. Past recipients have included:

1988 - Max Rudolf 1989 - Leonard Bernstein 1990 - Leon Barzin 1991 - Sir Georg Solti 1992 - Maurice Abravanel 1993 - Robert Shaw 1994 - Frederick Fennell 1995 - Margaret Hillis 1996 - Pierre Boulez 1997 - Leonard Slatkin 1998 - Kurt Masur 2000 - Claudio Abbado 2002 - James Levine 2004 - Michael Tilson Thomas

- 40 - UNC WIND ENSEMBLE Michael Votta, Jr., Conductor The Wind Ensemble uses rotating seating. The players are therefore listed in alphabetical order.

Flute/Piccolo Saxophone Euphonium Curtis Bergquist Jennifer Murray (baritone) JC Peterson Jason Brame Adam Pedersen (alto) Beth Ervin Whitney Post (alto/soprano) Tuba Aya Hayashi Jacob Rosch (tenor) Zachary Kyle Ballard Matthew Parunak Oboe/English Horn Trumpet Jeremy Wisuthseriwong Rebecca Gurganious Jake Brady Ben Thompson (+EH) Michael Gillespie String Bass Arden Jones David Möschler Bassoon/Contrabassoon Bradley Phillis Christopher Ogburn Reid Settle Timpani/Percussion James D. Terry David Suchoff Andy Blackmore Mark Cashin Clarinet / Bass Clarinet Horn Heather Harrison Kristen Barnes Matthew Brown Andrea Sorce Lesley Bradner Heather Honeycutt Blake Wynia Julie Goodstadt (bass) Caitlin Lyttle Burke Haywood Andrea E. Smith Kimberly Kirkhum Natalie Williams Lee Anne McLendon Megan Pinder Trombone Carolyn Sorock Kevin Pfeuffer (bass) Justin Tabor Bob Phoenix Chris Whittemore Jack Robertson John Skillman

- 41 - Unique Piano-Vocal Scores

Smetana: The Bartered Bride (Czech - English) Verdi: Un giorno di regno (Italian - English) Scarlatti: Eraclea (Italian - English performing edition) Others available Herman & Apter

1409 E. Gaylord St. E-mail: [email protected] Mt. Pleasant MI 48858-3626 Tel: (989) - 772 - 2509

- 42 - Special thanks to all the guest speakers and UNC musicians!

Thanks also to the following:

Stephen Czarkowski, Conference Coordinator Earl Groner, Conference Committee Chair

New York Philharmonic: Kristen Houkom, Education Associate Barbara Hawes & Rich Wandel, Archivists

Metropolitan Opera: Dennis Cuozzo, Robert Steiner, Robert Sutherland

Photo Credits: Judith Clurman: Christian Steiner John Corigliano: Christian Steiner Gilbert Kaplan: Tanja Niemann David Zinman: HarrisonParrott Ltd

Guild Staff: Sarabeth Gheith Jack Loynes Joanna Messer R. Kevin Paul

Program Book by R. Kevin Paul and printed by Quicker Printers

Please don’t forget to turn in your

CONFERENCE EVALUATION FORM

at the conclusion of the Conference

- 43 - Mission of the Conductors Guild

The Conductors Guild is dedicated to encouraging and promoting the highest standards in the art and profession of conducting.

The Conductors Guild is the only music service organization devoted exclusively to the advancement of the art of conducting and to serving the artistic and professional needs of conductors. The Guild is international in scope, with a membership of nearly 1,800 individual and institutional members representing all fifty states and more than thirty countries, including conductors of major stature and international renown. Membership is open to all conductors and institutions involved with instrumental and/or vocal music, including symphony and chamber orchestra, opera, ballet/dance, chorus, musical theater, wind ensemble and band.

History of the Conductors Guild

The Conductors Guild was founded in 1975 at the San Diego Conference of the American Symphony Orchestra League, and it continued for a decade as a sub- sidiary of that organization. In 1985 the Guild became independent. Since then, it has expanded its services and solidified its role as a collective voice for conductors’ interests everywhere. It is supported by membership dues, grants, donations and program fees and is registered with the Internal Revenue Service as a 501(c) 3 not-for-profit corporation.

Purposes of the Conductors Guild

1. To share and exchange relevant musical and professional information about the art of conducting orchestras, bands, choruses, opera, ballet, musical theater and other instrumental and vocal ensembles;

2. To support the development and training of conductors through workshops, seminars and symposia on the art of conducting, including, but not limited to, its history, development and current practice;

3. To publish periodicals, newsletters and other writings on the art, history and practice of the profession of conducting;

4. To enhance the professionalism of conductors by serving as a clearing house for knowledge and information regarding the art and practice of conducting;

5. To serve as an advocate for conductors throughout the world;

6. To support the artistic growth of orchestras, bands, choruses and other conducted ensembles; and

7. To communicate to the music community the views and opinions of the Guild.

www.conductorsguild.org

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